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ft 


lEUSBSTANTORBJVNIOR-WIVHKirY 


\ 


BAKER'S 


*- 


I  BIOQRAPHICAL 
DICTIONARY  OF 

MUSICIANS 


THIRD  EDITION 


Revised  and  Enlarged 
by 

ALFRED  REMY,  M.  A. 


■  •      • 


•  •     •• 


■   •  •  • 


•    •  •  •  • 

•  •  •      • 


•  •  • 


•  ♦ 

•  •• 


•  .  •    • 


•  ■ 

•  •  • 


•  •   • 


Price,  $5.00,  net 


New  York   •   G.  SCHIRMER   •  Boston 

1919 

'yV 


JZ 


Copyright,  1900,  by 
G.  SCHIRMER 

Copyright,  1905,  by 
G.  SCHIRMER 

Copyright,  1919,  by 
G.  SCHIRMER 


28579 


281032. 


•  •  • 


ll 


BAKER'S 

BIOGRAPHICAL 

DICTIONARY  OF 

MUSICIANS 


PREFACE 

In  the  preparation  of  the  present  edition  it  was  the  editor's  constant  care 
to  maintain  the  high  standard  of  impartiality,  completeness  and  accuracy 
that  characterized  the  two  earlier  editions,  and  have  established  Dr.  Baker's 
Dictionary  as  an  authoritative  work  of  reference.  The  long  period  (13  years) 
that  has  elapsed  between  this  and  the  last  edition  accounts  for  the  considerable 
increase  in  the  size  of  the  book.  Besides  necessary  additions  to  the  older 
articles  room  had  to  be  found  for  some  2000  new  biographies.  In  order  to 
keep  the  contents  within  the  limits  of  a  single  volume  a  number  of  the  less 
important  earlier  musicians  have  been  eliminated.  The  general  reader  is  not 
likely  to  notice  their  omission;  the  musicologist  will  naturally  turn  to  Eitner's 
Quellenlexikon. 

Regarding  the  alphabetical  arrangement,  the  following  method  has  been 
adopted:  ae,  oe,  ue  are  treated  as  distinct  letters;  no  distinction  is  drawn  be- 
tween original  vowels  (a,  o,  u)  and  modified  vowels  (a,  6,  ii).  Thus  Schaefer 
comes  before  Schafer.  However,  in  such  cases  as  Forster  and  F6rster, 
when  both  forms  are  represented  by  several  individuals,  the  names  have  been 
divided  into  two  groups,  the  one  with  the  original  vowel  preceding.  In  the 
case  of  two  or  more  Christian  names  the  order  is  determined  by  the  name 
generally  known.  Thus  Wagner,  (Wilhelm)  Richard  before  Wagner, 
Siegfried. 

The  system  of  transliteration  of  Russian  names  adopted  for  this  Dictionary 
requires  some  explanation.  (1)  X  is  rendered  by  ch  because  the  velar  aspirate 
which  it  represents  is  familiar  from  the  Scotch  {loch)  and  numerous  German 
words  (Bach,  Bruch,  Koch).  Furthermore,  it  was  preferred  to  kh,  because  in 
all  languages  the  symbol  k  uniformly  represents  the  one  familiar  sound,  which 
is  also  retained  in  the  combination  kh  in  words  of  foreign  origin  (khaki,  khan, 
khedive) ;  whereas  no  such  uniformity  can  be  claimed  for  ch,  even  in  English 
(child,  chemist,  choir,  machine,  yacht).  (2)  M  is  transliterated  as  tch.  In  the 
first  place,  the  initial  sound  is  actually  t  (followed  by  sh).  Then,  a  practical 
consideration  added  great  weight:  Such  forms  as  Tchaikovsky,  Tcherepnin, 
etc.,  which  have  gained  general  currency  in  English-speaking  countries  (in  recent 
years  also  adopted  in  several  French  publications),  differ  but  slightly  from 
Tschaikowsky,  Tscherepnin,  etc.,  the  form  used  in  all  other  European 
countries.  The  alphabetical  arrangement  under  T,  then,  is  universal.  (3) 
bl,  which  represents  a  sound  quite  peculiar  to  Russian  (halfway  between 
e  and  ii),  is  transliterated  as  y.  The  usual  transliterations  as  i  or  y  are  both 
inaccurate.  (4)  For  JK  zh  suggested  itself  as  the  natural  transliteration, 
being  the  voiced  sibilant  corresponding  to  its  voiceless  mate  sh  (the  identical 
relation  as  between  z  and  s).  (5)  The  'soft'  vowels  li,  £0,  A  are  transliterated 
as  ye,  yu,  ya  when  initial,  and  in  the  feminine  adjective  ending  (aya) ;  as  ie,  iu, 
ia  when  medial.  (6)  b,  technically  silent,  is  by  many  omitted  in  translitera- 
tion. But  it  invariably  'softens'  the  preceding  sound,  and  is  actually  heard 
as  a  very  faint  fricative.  Therefore  it  is  consistently  represented  by  j  (zhiznj, 
vidietj). — Two  or  three  concessions  have  been  made  to  custom.  The  famous 
publisher  Yurgenson  appears  as  Jurgenson,  because  in  this  form  the  name 
is  familiar  from  the  title-pages  of  his  publications.  Kyi  seemed  a  little  too 
startling  (as  yet) ;   therefore  the  French  form  Cui  was  retained.     In  this  con- 


PREFACE 

nection  it  may  be  remarked  that  such  forms  as  Borodine,  Scriabine,  Lia- 
pounov,  etc.,  are  French  transliterations.  Those  interested  are  referred  to 
the  articles  by  M.  Montagu-Nathan  and  S.  W.  Pring  on  Russian-English 
Transliteration  in  the  London  'Musical  Times'  (Nov.  and  Dec.,  1917);  the 
system  of  the  British  War  Office  was  published  in  the  same  journal  (Feb.,  1918). 

All  Russian  dates  are  made  to  correspond  to  the  Western  Calendar. 
Special  care  has  been  exercised  on  this  important  point.  Promiscuous  use  of 
both  styles  has  caused  much  confusion,  especially  in  books  giving  only  the  year 
of  an  event.  Thus  it  is  stated  by  one  writer  that  Balakirev  was  born  in  1836, 
and  by  another,  in  1837.  The  fact  is,  that  according  to  the  Russian  Calendar 
he  was  born  Dec.  21,  1836,  and  according  to  the  Western  Calendar  on  Jan. 
2,  1837. 

The  orthography  of  foreign  languages  has  been  made  to  conform  to  the 
latest  recommendations  of  the  respective  academies  (where  such  exist)  or  other 
recognized  authorities. 

The  large  space  devoted  to  bibliography  is  only  proportionate  to  the 
importance  of  the  subject.  Reference  to  sources,  where  fuller  treatment  can 
be  found,  constitutes  a  natural  and  essential  supplement  to  the  necessarily 
condensed  statements  of  a  Dictionary.  Much  time  and  thought  have  been 
given  to  the  selection  of  titles,  and  only  such  have  been  included  as  are  of  real 
value.  The  care  expended  on  this  part  of  the  task  has  resulted  not  only  in  the 
correction  of  errors  (wrong  titles,  dates  or  places  of  publication,  confusion  of 
different  editions,  etc.)  in  the  bibliography  of  predecessors,  but  many  im- 
portant items  in  the  articles  themselves  have  thus  been  verified  or  corrected. 

Among  the  outstanding  merits  of  the  original  edition  of  this  Dictionary 
was  trustworthiness.  Hundreds  of  errors  contained  in  the  standard  works 
of  reference  had  been  discovered  by  Dr.  Baker,  and  eliminated  in  his  own 
work.  Nothing  had  been  accepted  without  critical  examination.  The  same 
policy  has  been  followed  in  the  preparation  of  the  present  edition,  and  for  this 
purpose  the  following  recent  authorities  have  been  critically  examined  and 
collated:  Robert  Eitner,  Biographisch-bibliographisches  Quellen-Lexikon  (10 
vols.;  Leipzig,  1900-4),  with  its  quarterly  supplements  'Miscellanea  Musicae 
bio-bibliographica' ;  Ernesto  Vieira,  Diccionario  biographico  de  Musicos  Portu- 
gueses (2  vols.;  Lisbon,  1900);  Felix  Ctement  and  Pierre  Larousse,  Diction- 
des  Operas,  new  ed.  rev.  by  A.  Pougin  (Paris,  1904);  Grove's  Dictionary 
of  Music  and  Musicians,  2d  ed.  by  J.  A.  Fuller-Maitland  (5  vols.;  London, 
1904-10);  Giuseppe  Albinati,  Dizionario  di  Opere  tealrali  (Milan,  1913);  Al- 
bert Lavignac,  EncyclopSdie  de  la  Musique  et  Dictionnaire  du  Conservatoire 
(Paris;  3  vols,  since  1913);  Hugo  Riemann,  Musiklexikon  (8th  ed.;  Leipzig, 
1916),  as  well  as  the  earlier  Russian  and  French  translations  containing  ampli- 
fications not  utilized  in  the  last  German  edition;  Tobias  Norlind,  Allmant 
Musiklexikon  (2  vols.;  Stockholm,  1916).  Every  point  of  divergence  found  in 
these  works  has  been  carefully  investigated,  and  the  result  embodied  in  the 
present  edition  of  the  Dictionary. 

In  the  vast  majority  of  cases  the  pronunciation  of  foreign  names  has  been 
indicated  in  brackets.  Of  course,  nothing  can  take  the  place  of  the  living 
sound ;  all  phonetic  systems  are  only  a  matter  of  more  or  less  close  approxima- 
tion. That  of  the  'Association  Internationale  Phon6tique  (the  best  yet  de- 
vised) is  far  too  complicated  for  the  layman  to  master  without  special  study. 


PREFACE 

The  editor,  therefore,  adopted,  with  slight  modifications,  a  simple  and  very 
practical  system  devised  by  Dr.  Theodore  Baker  for  his  Pocket  Manual  of 
Musical  Terms  (New  York,  1905). 

From  living  musicians  information  has  been  obtained,  wherever  possible, 
through  personal  correspondence.  Comparatively  few  letters  have  remained 
unanswered.  In  such  cases  the  editor  was  obliged  to  gather  what  information 
he  could  from  various  sources  more  or  less  reliable,  a  process  in  which  much 
valuable  time  was  consumed — rather,  wasted. 

Despite  all  vigilance,  the  present  edition  undoubtedly  contains  mistakes. 
Any  corrections  or  suggestions  tending  to  the  improvement  of  the  next  edition 
will  be  gratefully  received,  and  should  be  addressed  to  the  editor,  in  care  of  the 
publishers. 

To  the  many  artists  who  have  cheerfully  contributed  the  required  material 
the  editor  extends  his  sincere  thanks.  He  takes  pleasure  in  acknowledging 
his  obligations  to  Messrs.  Richard  Aldrich,  William  H.  Humiston  and  R.  F. 
Loehr  of  New  York,  Felix  Borowski  of  Chicago,  Joseph  E.  Schuecker  of  Pitts- 
burgh and  John  Curtis  of  Philadelphia  for  valued  favors  of  various  kinds 
(furnishing  materials  for  other  than  personal  biographies,  loan  of  rare  books, 
etc.).  To  Dr.  Otto  Kinkeldey,  chief  of  the  music-division  of  the  New  York 
Public  Library,  the  editor  is  indebted  for  the  privilege  of  unrestricted  access 
to  parts  of  the  library  closed  to  the  public,  as  well  as  for  personal  assistance 
in  obtaining  information;  after  his  enlistment  in  the  army  his  assistant,  Mr. 
Julius  Mattfeld,  cheerfully  rendered  similar  service.  Special  thanks  are  due 
to  Dr.  Theodore  Baker,  not  only  for  his  scrupulous  care  in  reading  the  proofs, 
but  even  more  for  valuable  advice  and  a  deep  personal  interest  throughout 
the  progress  of  the  work. 

In  conclusion  the  editor  feels  impelled  to  express  his  appreciation  of  the 
unlimited  freedom  granted  him  in  carrying  out  his  plans.  For  this  he  owes 
thanks  to  Mr.  Rudolph  E.  Schirmer. 

The  Editor. 

New  York,  August  1,  1918, 


KEY  TO  PRONUNCIATION 


Sh    "  ah 


II 


II 


II 


II 


a 
a 
a 


ii 


ii 


it 


as  e 

«i 


ah  as  a     in  father. 

the  college  cheer  'rah!  rah! 
rah!'  Such  words  as  'blot,  plot/ 
do  not  represent  the  pure  short 
sound  corresponding  to  long 
ah;  they  have  an  admixture 
of  6. 

bat. 

hare. 

fate. 

£h  is  the  short  sound  of  long  a  (closer  than 
e  in  bet). 

pet. 

meet. 

sit. 

side. 

old. 

obey. 

law. 

Goethe  (or  Fr.  eu  in  'feu').  In 
closed  syllables  it  represents 
the  open  eu,  as  in  'peur.' 

oil  (approximately);  the  Ger- 
man au  and  eu  are  more  closed 
(ah-ii),  while  the   Engl,    oi  is 

open  (6-e). 


a 
a 
a 


e 

1 

i 

oh 

6h 

6 

8 


oi 


ii 


ii 


ii 


ii 


it 


ii 


ce 
l 

• 

l 

o 

o 

aw 

oe 


11  oi 


in 
ii 

ii 

H 

ii 

ii 

ii 

ii 


ii 


oo  as  oo  in  food. 

66    "  oo   "  foot. 

ow   "  ow  "  owl. 

u      M  u      "  but. 

ii      "  u      "  French  'rue'  (street). 

y  represents  the  Russian  yerui  (a  sound 
midway  between  e  and  ii). 

g      always  as  in  'go.' 

h      as  ch  in  Ger.  'ach'  or  Scotch  'loch.' 

n     represents  the  French   nasal  vowels,  an 

(main,  fin),  ahn  (enfant),  6hn 
(mon),  on  (Verdun). 

ft  represents  a  sound  equivalent  to  the  Span- 
ish n  (n+consonantal  y),  as  in 
'canon.' 

8  as  in  'see.' 

sh  as  in  'shall.' 

th  as  in  'thin.' 

y  .as  in  'yes.' 

yh  as  ch  in  Ger.  'ich.' 

z  as  in  'gaze.' 

zh  as  z  in  'azure.' 


N.  B.  Accent-marks  over  vowels  in  Bohemian,  Polish  and  Hungarian  names  never  indi- 
cate stress  of  voice,  but  always  a  modification  of  the  vowel -sound. 


•  » 

•  « 


•     • 


•••    •  • 


ABBREVIATIONS  AND  FOREIGN  WORDS 


abbot  [often  a  merely   honorary 
y     title]. 


A.,  alto. 

Abate 

Abbate 

Abbe 

Acad.,  Academy. 

a  capp.,  a  cappella. 

ace,  according (ly). 

accessit    (Lat.),    honorable    mention    [term 
used  in  French  competitions]. 

accomp.,  accompaniment. 

acct.,  account. 

A.  C.  M.,  American  College  of  Musicians. 

adj.,  adjunct. 

A.  G.  O.,  American  Guild  of  Organists. 

Allg.,  Allgem.  (Ger.,  allgemein),  universal; 
general. 

Antiq.,  Antiquarian. 

app.,  appointed;  appointment. 

A.  R.  A.  M.,  Associate  Royal  Academy  of 
Music. 

arr.,  arranged;  arrangement. 

art.,  article. 

Aspirant   (Ger.),  an    unsalaried    orchestra- 
player  awaiting  advancement. 

Assoc.,  association. 

asst.,  assistant. 

augm.,  augmented. 

b.,  born. 

B.,  bass. 

bar.,  baritone. 

b.  cont.,  basso  continuo. 

Ber.  Mus.,  Beriihrnte  Musiker  (a  series  of 
biographies;  Berlin). 

Bilrgerregiment  (Ger.),  militia  regiment. 

c.  (Lat.,  circa),  about. 

Gamerlingo  (It.),  Chamberlain. 

Cantab.    (Lat.,   Cantabrigiensis),   of   Cam- 
bridge. 

Gath.,  cathedral. 

Gav.  (It.,  Cavaliere),  Chevalier;  Knight. 

*  cello,  violoncello. 

cent.,  century. 

Cf.  (Lat.,  confer),  compare. 

Ch.,  church. 

ch.f  chorus,  choir;  unless  specially  modified, 
it  means  4-part  mixed  chorus. 


Ghantre  (Fr.),  singer. 

Ghapelle  (Fr.)f  chapel;  choir. 

chef  de  musique  (Fr.),  bandmaster;  con- 
ductor. 

chef  d'orchestre  (Fr.),  conductor. 

chef  du  chant  (Fr.),  chorusmaster. 

Ghev.,  Chevalier. 

choirm.,  choirmaster. 

Choragus  (Lat.),  precentor. 

Chormeister  (Ger.),  conductor  (of  a  choral 
society). 

clar.,  clarinet. 

clave,  (It.,  clavicembalo),  the  precursor  of 
the  pianoforte. 

coll.,  collected;  collection. 

Coll.,  college. 

comm.,  committee. 

comp.,  composed;  composer;  composition. 

Comte  (Fr.),  Count. 

Concertgebouw  (Dutch),  concert-hall. 

concours  (Fr.),  competitive  examination. 

cond.,  conducted;  conductor;  conducting. 

Congr.,  Congregational. 

Cons.,  Conservatory  (Conservatorium;  Con- 
servatoire; Conservatory) . 

cont.,  continuo. 

Gonte  (It.),  Count. 

Gontraltista  (It.),  male  contralto. 

Gorrepetitor  (Lat.),  assistant  conductor, 
rehearsing  the  solo  artists  of  an  opera  at 
the  piano. 

Gov.  G.,  Covent  Garden,  London. 

cpt.,  counterpoint. 

d.,  died. 

darst(ellende)  Kunst  (Ger.),  dramatic  art. 

d.-bass,  double-bass. 

Deutsch  (Ger.),  German. 

dlr.,  director. 

Dkm.,  (Ger.,  Denkmaler),  monuments. 

Dom  (Ger.),  cathedral. 

Domchor  (Ger.),  cathedral-choir. 

Dozent  (Ger.),  instructor  at  a  German  uni- 
versity. 

dram.,  dramatic. 

Dr.  jur.  (Lat.,  doctor  juris),  doctor  of  law(s). 


•       • 


.  .    .-ABBREVIATIONS  AND  FOREIGN  WORDS 

m  • 


Dr.  phil.  (Lat*  doctor  philosophise),  Doctor 
of  Phflisopny;  equivalent  to  the  Ph.  D. 
of  Amor,  'universities. 

Due  (Fr.VEJuke. 

ed.,  edited;  editor;  edition. 

Edtar  (Ger.),  an  Austrian  title  of  the  lower 
'♦nobility. 

e.g.  (Lat.,  exempli  gratia),  for  example. 

eng.,  engaged. 

Engl.,  England;  English. 

ent.,  entered. 

Episc.,  Episcopal. 

establ.,  established. 

et  al.  (Lat.,  et  alii,  aliae,  alia),  and  others. 

et  seq.  (Lat.,  et  sequentes,  sequentia),  and 
the  following. 

Evang.,  Evangelical. 

Ezheg.  Imp.  Teat.  (Russ.),  Ezhegodnik  Im- 
peratorskich  Teatrov  (Petrograd). 

F.,  Fellow. 

f.t  for 

fern.,  female. 

Feet.,  Festival. 

fl.  flute. 

Fr.,  French. 

fragm.,  fragment;  fragmentary. 

Frau  (Ger.),  Mrs.;  Madam. 

Frauleln  (Ger.),  Miss. 

F.  (R.)  C.  O.,  Fellow  of  the  (Royal)  College 

of  Organists. 

Freiherr  (Ger.),  Baron. 

Geheim  (Ger.),  Privy;  Gehdmrat,  Privy 
Councilor. 

Generalmusikdirektor  (Ger.),  director- 
general  of  music. 

Ger.,  German. 

Gesellschaft  (Ger.),  Society;  Association. 

Govt.,  Government. 

Grossherzoglich  (Ger.),  Grand-ducal. 

G.  S.  M.,  Guildhall  School  of  Music  (Lon- 

don). 

Handelshochschule  (Ger.),  High  School  of 
Commerce. 

harm.,  harmony. 

harps.,  harpsichord. 

Hauptkirche  (Ger.),  principal  church. 

Herr  (Ger.),  Mr. 

Herzoglich  (Ger.),  Ducal. 

H.  M.'a  Th.,  Her  Majesty's  Theatre  (Lon- 
don). 

Hochschule  (Ger.),  'High  School';  college; 
university. 


Hof  (Ger.),  court;  a  frequent  prefix,  as  in 
Hofkapelle,  court  chapel,  or  court  or- 
chestra; Hofkapellmeister,  court  con- 
ductor; Hofmusikintendant,  Superin- 
tendent of  the  court  music;  etc. 

Hof  rat  (Ger.),  court  councilor  [often  only 
an  honorary  title]. 

Hon.,  honorary. 

hon.  c.   (Lat.,  honoris  causa),  because  of 

respect  [affixed  to  honorary  titles]. 
ib.,  ibid.  (Lat.,  ibidem),  in  the  same  place. 
id.  (Lat.,  idem),  the  same. 
i.e.  (Lat.,  id  est),  that  is. 
Imp.,  Imperial. 

I.  M.  S.,  International  Musical  Society. 
Incid.,  incidental. 
Inst.,  institution;  institute. 

instr.,  instrument;  instructor;  instrl.,  in- 
strumental; instrs.,  instruments. 

Introd.,  introduction. 

It.,  Ital.,  Italian. 

Jahrb.  Peters,  Tahrbuch  der  Musikbiblio- 
thek  Peters  (Leipzig). 

Justlzrat  (Ger.),  Councilor  of  Justice  [often 
honorary  title]. 

Kammersanger  (Ger.),  chamber-singer  [hon- 
orary title]. 

Kapelle  (Ger.),  chapel;  choir;  orchestra. 

Kapellm.  (Ger.,  Kapellmeister;  Swed., 
Kapellmastare;  Kapelmester  (Dan.  and 
Norw.),  conductor. 

Rchm.  J.,  Kirchenmusikalisches  Jahrbuch 
(Ratisbon). 

Kerk  (Dutch),  church. 

Kgl.  (Ger.,  kdniglich),  royal. 

Kirche  (Ger.),  church  (often  compounded 
with  Saints'  names;  as  Thomaskirche, 
Church  of  St.  Thomas;  Nikolaikirche, 
Ch.  of  St.  Nicholas;  Petrikirche,  Ch. 
of  St.  Peter;  etc.). 

Kirke  (Dan.,  Norw.),  church  (often  in  com- 
pounds, as  Fraekirke,  Church  of  Our 
Lady). 

k.  k.  (Ger.,  kaiserlich-kdniglich),  imperial, 
royal  [prefixed  to  Austrian  titles]. 

Kommerzienrat  (Ger.),  Councilor  of  Com- 
merce [honorary  title]. 

Konsistorialrat  (Ger.),  Councilor  of  the 
Consistory. 

Konzertmeister  (Ger.),  leader. 

Kreuzkirche  (Ger.),  Church  of  the  Holy 
Cross;  that  in  Dresden,  with  the  Gymna- 
sium (Kreuzechule)  attached,  is  most 
frequently  mentioned. 


ABBREVIATIONS  AND  FOREIGN  WORDS 


Kiinstler  (Ger.)>  artist. 
Kunstlied   (Ger.),  art-song  (as  opposed  to 
folk-song). 

Ryrka  (Swed.),  church. 
Lehrergesangverein  (Ger.),  Teachers'  Sing- 
ing-society. 

libr.,  library;  librarian. 

Lie,  licentiate. 

Liceo  (It.),  Lyceum;  College. 

Liederkranz,  Liedertafel  (Ger.),  male 
choral  society  with  social  tendency. 

Lustspiel  (Ger.),  comedy. 

Lutherle  (Fr.),  the  art  of  making  bow-instru- 
ments. 

lyr.,  lyric. 

Maatschappi J  (Dutch) ,  association. 

maestro  (It.),  teacher;  conductor;  m.  al 
cembalo,  (formerly)  the  orchestral  con- 
ductor, who  sat  at  the  harpsichord;  m. 
del  putt!,  Master  of  the  Boys. 

Maftre  de  chant  (Fr.),  conductor  of  a 
chorus;  singing-master. 

Manh.  O.  H.v  Manhattan  Opera  House  (New 
York,  1906-10). 

Mannerchor  (Ger.),  male  chorus;  Men's 
Choral  Society  (Mannergesangverein). 

Marchenspiel  (Ger.),  fairy-play;  fairy-opera. 

Marchese  (It.),  Marquis. 

m.  de  chap.  (Fr.,  mattre  de  chapelle),  con- 
ductor. 

m.  di  capp.  (It.,  maestro  di  cappella),  con- 
ductor. 

M.  E.,  Methodist  Episcopal. 

melodr.,  melodrama. 

mem.,  member. 

mod.,  moderately. 

M.  O.  H.,  Metropolitan  Opera  House  (New 
York). 

m.-sopr.,  mezzo-soprano. 

M.  T.t  Musical  Times  (London). 

M.  T.  A.,  Music  Teachers'  Association. 

mimic,  municipal. 

Mus.,  music;  musical;  musician. 

Mus.  Ant.,  The  Musical  Antiquary  (Lon- 
don). 

Mus.  Antiq.  Soc.,  Musical  Antiquarian 
Society. 

Mus.  Bac.  (Lat.,  Musicae  Baccalaureus), 
Bachelor  of  Music. 

Mus.  Doc.  (Lat.,  Musicae  Doctor),  Doctor  of 
Music. 

musico  (It.),  male  soprano. 

muslcol.,  musicology. 


Muslk  (Ger.),  music;  often  compounded,  as 
Muaikdirektor,  musical  director;  Mu- 
aiklehrer,  music-teacher;  Muslkver- 
ein,  Musical  Society. 

Musikfdrening  (Swed.),  musical  association. 

Mus.  Quar.,  The  Musical  Quarterly  (New 
York). 

Muziekgeschiedenia  (Dutch),  history  of 
music. 

n.,  near. 

n.  d.,  no  date. 

N.  E.,  New  England. 

N.  M.  T.  A.,  National  Music  Teachers'  Asso- 
ciation. 

N.  T.  S.  MM  National  Training  School  for 
Music  (London). 

N.  Ztschr.  f.  M.v  Neue  Zcitschrift  far  Mu- 
sik  (Leipzig). 

op.,  opus;  opera. 

Oper  (Ger.),  opera. 

Orch.,  orchestra;  orchestration. 

orchl.,  orchestral. 

or^.9  organ;  organist. 

orlg.,  original. 

orkaat  (Dutch),  orchestra. 

Oxon.  (Lat.,  Oxoniae),  of  Oxford. 

p.,  part. 

pea.,  pieces. 

P.  E.,  Protestant  Episcopal. 

perf.,  performed;  performance. 

pf.,  pianoforte. 

Phllh.,  Philharm.,  Philharmonic. 

Pros.,  President. 

Preeb.,  Presbyterian. 

Principe  (It.),  president;  chairman. 

Privatdozent  (Ger.),  instructor  at  a  uni- 
versity. 

Proc.,  Proceedings. 

Prof.,  Professor. 

publ.,  published. 

Publ.  Gea.  Mfschg.,  Publikation  der  Gesell- 
schaft  fiir  Musikforschung  (Leipzig). 

Q.-Lex.,  Eitner's  Quellen-Lexikon  der  Mu- 
siker  und  Musikgelehrten  (Leipzig). 

R.,  Royal. 

R.  A.  M.,  Royal  Academy  of  Music. 

R.  C.,  Roman  Catholic. 

R.  G.  M.,  Royal  College  of  Music. 

R.  G.  O.,  Royal  College  of  Organists. 

recte  (Lat.),  correctly;  properly. 

rectiu8  (Lat.),  more  correctly;  more  properly. 

Regena  chorl  (Lat.),  choirmaster;  precentor. 


ABBREVIATIONS  AND  FOREIGN  WORDS 


Regierungsrat  (Ger.),  Privy  Councilor. 
Regius  mu8lcu8  (Lat.),  Royal  musician. 
Reichsfreiherr  (Ger.),  Baron  of  the  Empire. 
Repetiteur  (Fr.),  Repetitor  (Ger.),  coach 
or  drillmaster  for  soloists  or  chorus. 

rev.,  revised. 

Rev.,  Reverend. 

Ritter  (Ger.),  Knight;  Baronet. 

Riv.  M.  I.,  Rivista  Musicale  Italiana  (Turin). 

rom.,  romantic. 

Rus8k.  Muz.  Gaz.,  Russkaya  Muzykalnaya 
Gazeta  (Petrograd). 

Russk.  Star.,  Russkaya  Starina  (Petrograd). 

S.,  soprano;  S.  A.  T.  B.,  soprano,  alto,  tenor, 
bass. 

Sachyerstandigenkammer  (Ger.) .commis- 
sion of  experts. 

Sangervereinigung  (Ger.),  Singers'  Asso- 
ciation. 

Sbd.  Int.  M.-G.,  Sammelbande  dcr  Inter- 
nationalen  Musik-Gesellschaft  (Leipzig). 

Sch.,  school. 

Schule  (Ger.),  school. 

Schulrat  (Ger.),  Inspector  of  Schools. 

Sem.,  seminary. 

Siebenbiirgen  (Ger.),  Transylvania. 

S.  I.  M.,  Bulletin  de  la  Societe  Internationale 
de  Musique  (Paris). 

Singakademle  (Ger.),  Singing-Society. 

Singsplel  (Ger.),  a  form  of  light  opera  in 
vogue  c.  1750-1830,  with  spoken  dia- 
logue, and  music  in  the  style  of  folk-songs. 

S.  O.,  Symphony  Orchestra. 

Soc.,  Society. 

Solorepetitor  (Ger.),  coach  and  accompan- 
ist for  solo  artists. 

sopr.,  soprano. 

80pranista  (It.),  male  soprano. 

8t.,  studied. 

Staatsbibllothek  (Ger.),  State  (National) 
Library. 


Staatspreia  (Ger.),  State  (National)  Prize. 

St.  M.-W.,  Studicn  zur  Musikwissenschaft 
(Vienna). 

str.,  string. 

8ucc,  success;  successful;  successor;  suc- 
ceeded. 

symph.,  symphony;   symphonic. 

T.,  tenor. 

Th.,  theatre. 

Thaler  (Ger.),  silver  coin;  value  about  75 
cents. 

Thomaskirche  (Ger.),  Church  of  St. 
Thomas. 

Thoma88chule  (Ger.),  the  celebrated  Gym- 
nasium connected  with  the  Thomaskirche 
at  Leipzig. 

Tonkiinstler  (Ger.),  'tone-artist';  musician. 

Toonkunst  (Dutch),  art  of  tone  (music). 

tpt.,  trumpet. 

tran8cr.,  transcribed;  transcription. 

tr.,  transl.,  translated;  translation. 

u.  (Ger.,  und),  and, 

Unit.,  Unitarian. 

Univ.,  University. 

U.  S.,  United  States. 

v.,  very;  (Lat.  vide),  see;  (Ger.  von),  of. 

â–¼ar.,  variation. 

vcl.,  violoncello. 

â–¼cs.,  voices. 

Vereeniging  (Dutch),  association. 

Verein  (Ger.),  Society;  Association;  Union. 

vl.,  violin. 

via.,  viola. 

vln.,  violin. 

Volksoper  (Ger.),  folk-opera  (opera  in  popu- 
lar style  on  a  popular  or  national  subject). 

Vschr.  f.  M.-W.,  Vierteljahrsschrift  fur  Mu- 
sikwissenschaft  (Leipzig,   1885-94). 

w.,  with. 

Ztg.  (Ger.,  Zeitung),  Gazette. 

Ztschr.  I.  M.-G.,  Zeitschrift  der  Inter- 
nationalen  Musikgesellschaft  (Leipzig). 


ERRATA 

N.  B.  For  the  sake  of  convenience  lines  are  counted  sometimes  from  the  beginning, 
sometimes  from  the  end  of  each  article.  In  the  latter  case  the  numeral  is  marked  with  an 
asterisk. 


Article 

Page 

Col. 

Line 

Instead  of 

read 

Brune,  Adolf 

124 

1 

10 

E 

Eb. 

Chopin,  Fr&teric 

155 

2 

2* 

Kryzanowska 

Krzyzanowska. 

Cohen,  Karl 

168 

2 

5 

Kirchen  musikschule 

Kirchenmusikschule. 

Davidov,  Karl 

194 

1 

1 

Da'vidov 

Davi'dov. 

Day,  Charles 

195 

1 

2 

Norfolk 

Norwich. 

Dnuaeke,  Felix 

218 

1 

7 

Cb 

c#. 

faminzln,  Alexander 

249 

2 

1 

Faminzin...Sergievitch 

Famintspn  . . .  Sergeievitch. 

Findelsen,  Nikolai 

262 

1 

8 

Siloti 

Ziloti. 

fcabriell,  Andrea 

285 

2 

8 

Pieter 

Pieters. 

Gandihl,  Alessandro 

292 

1 

1* 

Tardini 

Valdrighi. 

Cariel,  Edoardo 

295 

1 

1 

Edoardo 

Eduardo 

;Gliier,  Salvador 

310 

2 

4 

cuarto 

cuairo. 

Gregoir,  £douard 

334 

2 

3* 

Des 

Les. 

Gregory,  I. 

335 

1 

11 

EinjUhung 

Einfiihrung. 

Grisar,  Albert 

339 

2 

8* 

Carilloneur 

CariUonneur. 

Gusikov,  Joseph 

348 

2 

1 

Gusikov 

Guzikov. 

ib. 

ib. 

ib. 

3 

Mohilev 

Mogilev. 

Hauk,  Minnie 

371 

2 

2* 

Somnambula 

Sonnambula. 

Hermann,  Robert 

390 

2 

2 

D 

Dm. 

/  Hinckley,  Allen 

402 

2 

6* 

Boito 

Berlioz. 

Huhn,  Bruno 

420 

1 

9 

S.  P.  Mills 

S.  B.  Mills. 

Hutter,  Hermann 

425 

1 

1 

Kaufbeuern 

Kaufbeuren. 

Irgang,  Friedrich 

429 

1 

2 

Schleswig 

Silesia. 

Kahn,  Robert 

448 

1 

2 

Mannhein 

Mannheim. 

Kazatchenko,  Nikolai  455 

2 

1 

Nikolai  Ivanovitch 

Grigory  Alexeievitch. 

ib. 

ib. 

ib. 

7 

Sotkin 

Sotnik. 

Kopylow,  Alexander 

477 

2 

1 

Kopylow 

Kopylov. 

Korganov,  Genarl 

478 

1 

1 

Genari 

Gennari. 

Kraus,  Felix  von 

482 

2 

4* 

Marie 

Auguste. 

Krause,  Martin 

483 

1 

2* 

Siloti 

Ziloti. 

Krolop,  Franz 

489 

1 

4 

Levy 

Lewy. 

Kiister,  Hermann 

497 

1 

6* 

BUding 

Bildung. 

Labarre,  Theodore 

498 

1 

3 

Boscha 

Bochsa. 

Lambert,  Alexander 

505 

1 

12 

Siloti 

Ziloti. 

Laparra,  Raoul 

511 

2 

4 

ib. 

Op.-Com. 

Lazzari,  Silvio 

517 

1 

1 

lah-tsah'r€ 

lahd'zah-re. 

Lecocq,  Charles 

519 

1 

3 

Clifton,  Guernsey. 

Paris,  Oct.  25,  1918. 

» 

Feb.  15,  1911. 

Lecocq,  Charles 

519 

1 

7* 

du 

de. 

I  Japunov,  Serge 

533 

1 

1 

Serge 

Sergei. 

ERRATA 

i 
i 

Lind,  Jenny 

537 

2 

3* 

July 

i 
i 

October.                               1 

Lyra,  Justus 

559 

2 

1* 

Hauptgottesdiensi 

Hauptgottesdienstes.              i 

Mercadante,  Saverio 

603 

2 

4 

Collegia 

Collegio. 

Meusel,  Johan 

607 

2 

1 

Johan 

Johann. 

Missa,  Edmond 

615 

2 

9 

Babette,  Muguette 

Babette,  Muguette. 

Mosonyi 

626 

1 

1 

Moson'yi 

Mo'sonyi. 

Napravnik,  Eduard 

641 

1 

3* 

Wei  mam 

Weymarn. 

Niemann,  Albert 

652 

2 

16 

season 

seasons. 

Offenbach,  Jacques 

664 

1 

14* 

1  DerBogen 

Die  Heimkehr. 

Padilla  y  Ramos 

674 

1 

1 

Pad'illa 

Padi'Ha. 

Paloschl,  Giovanni 

678 

2 

1* 

Gazetta 

Gazzetta. 

Pergolesl,  Giovanni 

695 

1 

10 

G.  P.  B. 

G.  B.  P. 

Petrelll,  Eleonora 

699 

2 

2 

Salomon 

Saloman. 

Prints,  Wolfgang 

724 

1 

2 

Monatschrift 

Monatsschrift. 

Rachmanlnov,  Sergei 

734 

2 

4 

Damyansky 

Demyansky.            v 

Rellatab,  Ludwig 

755 

2 

11* 

Spohr's 

Spontini's. 

Rey,  Jean-Baptlste  (I)  758 

2 

2 

Tarnet-Garonne 

Tarn-et-Garonn             d 

ROsel,  Rudolf 

783 

2 

5 

Thompson 

Thomson.                        \ 
Col.  Henry  M.,             } 

Roze,  Marie 

790 

2 

7* 

Col.  J.  H.  Mapleson 

Saenger,  Oscar 

801 

1 

6 

Heinrichs 

Hinrichs.                         « 

Saint-Sagos,  Gamille 

803 

1 

2 

Halvey 

Halevy. 

Sass,  Marie 

814 

2 

1* 

Castlemary 

Casteimary. 

SchrOder,  Karl 

841 

1 

14 

Erdmannsdtirfer 

Erdmannsdorffei 

Schubert,  Franz 

843 

2 

8* 

Sonnleitner 

Sonnleithner. 

Schuecker,  Edmund 

847 

1 

14 

op.  11,  Nocturne 

op.  7,  Nocturne. 

Schulz-Beuthen 

849 

1 

4 

F.  S.  Richter 

E.  Fr.  Richter. 

Sokalsky,  Vladimir 

887 

1 

5 

Riepa 

Riepka. 

Sonnleltner,  Joseph 

889 

2 

1 

Sonnleitner 

Sonnleithner. 

Spitta,  Friedrich 

895 

2 

5 

Monatschrift 

Monatsschrift. 

Straus,  Oskar 

918 

1 

2 

Prosnit2 

Prosniz. 

Strauss,  Richard 

921 

1 

1* 

in  artistic 

inartistic.                            » 

Streatfeild,  Richard 

923 

1 

4* 

Handel 

Handel. 

Tchaikovsky,  Piotr 

939 

1 

14 

Kradosti 

K  radosti. 

Tebaldini,  Giovanni 

939 

2 

9* 

Peri  and  Caccini's 

Peri's. 

Tiedebohl,  Otto  von 

951 

2 

6 

Hollander 

Hollaender. 

Tollefsen,  Carl 

956 

1 

2* 

than 

then. 

Valdrighi,  Luigi 

969 

2 

4* 

Candini's 

Gandini's. 

Vecchi,  Orazio 

975 

2 

4* 

XXV 

xxii.                                         , 

Vierne,  Louis 

982 

2 

3,7« 

'  bourgignonne 

bourguignonne. 

Wagner,  Gosima 

995 

2 

13 

auto-biography 

autobiography. 

Wagner,  Richard 

1001 

2 

19* 

ib.,  Jan.  26,  1877 

Phila.  Acad.  Mus.t  Nov.  8, 
1876. 

ib. 

1001 

2 

18* 

Stadth. 

Stadtth. 

ib. 

1002 

2 

7* 

Oper 

Opfer. 

ib. 

1004 

2 

5 

W.  and  Nietzsche 

W.  and  Nietzsche. 

Wallaschek,  Richard 

1009 

1 

4* 

Schrften 

Schriften. 

Walter,  Friedrich 

1010 

1 

5* 

National-theaters 

Nationaltheaters. 

Wood,  Charles 

1053 

1 

3 

Morely 

Morley. 

Zur  Mtihlen,  R.  von 

1072 

2 

9 

d.  London,  1918 

still  living. 

BIOGRAPHICAL    DICTIONARY 


OF 


MUSICIANS 


Aaron, 


-,  abbot  oC  the  monasteries  of 


St.  Martin  and  St.  Pantaleon  at  Cologne, 
where  he  died  in  1052.  Wrote  De  utilttaU 
cantus  vocalis  et  de  modo  cantandi  atque  psal- 
lendi  (in  library  of  St.  Martin),  and  De  regulis 
tonorum  et  symphoniarum.  He  introduced  the 
Gregorian  nocturnes  into  Germany. 

Aaron  (or  Aron),  Pietro,  b.  Florence, 
1480  or  '90;  d.  Venice,  1545.  Noted  theorist; 
in  turn  cantor  of  boy-choir  at  Imola,  canon 
and  choir-master  at  Rimini,  monk  (order  of 
Hospitalers)  at  Bergamo,  Padua  and  Venice. 
Wrote  //  ToscaneUo  in  musica  (1523,  '25,  '29, 
'39,  '62);  Tratlato  delta  natura  e  cognitions  di 
tutti  gli  tuoni  di  canto  figuraio  (1525);  Luci- 
dario  in  musica  di  alcune  opinioni  antiche  e 
moderne  (1545);  Compendiolo  di  molti  dubbj, 
segreti,  et  sentenze  intarno  al  canto  fermo  et 
figurato  .  .  .  (Milan,  no  date) ;  this  last  also 
in  Latin  as  Libri  tres  de  institutione  har- 
monica (Bologna,  1316). — See  Q.-Lex. 

A'baco,  Evarlsto  Felice  dalT,  b.  Verona, 
July  12,  1675;  d.  Munich,  July  12,  1742,  as 
leader  of  orch.  to  the  Grand  Duke  of  Ba- 
varia. Comp.:  Op.  1,  12  violin-sonatas  w. 
continue;  Op.  2,  10  4- part  cancer ti  da  chiesa; 
Op.  3,  6  church-  and  6  chamber-sonatas  a  3; 
Op.  4,  12  vln.-son.  w.  cant.  (arr.  by  Chede- 
ville  f.  musette,  flute  and  oboe  w.  cont.); 
Op.  5,  6  7-p.  concerti  (4  vlns.,  via.,  bassoon 
or  'cello,  b.  cont.);  Op.  6,  concerti  f.  vln. 
A.  Sandberger  publ.  a  biogr.  sketch  and  a 
selection  from  op.  1-4  in  vol.  i  of  'Denk- 
maler  d.  Tonk.  in  Bayern,'  and  a  second 
selection  in  vol.  ix,  1;  Riemann  has  edited 
3  Trio-Sonatas. — See  Q.-Lex. 

Abba-Corna'&lia,  Pietro,  b.  Alessandria, 
Piedmont,  Mar.  20,  1851;  d.  there  May  2, 
1894.  Pupil  of  Milan  Cons.,  1868-71.  Tal- 
ented opera-comp.  (Isabella  Spinola,  1877; 
Maria  di  Warden,  1884;  Una  partita  di  scac- 
chit  Pa  via.  1892);  also  wrote  good  chamber- 
and  sacred  music  (Requiem  Mass). 


Abbadl'a,  Luiftla,  daughter  of  Nat  ale  A.; 
b.  Genoa,  1821.  Celebrated  mezzo-soprano 
stage-singer;  debut  Sassari,  1836.  Roles: 
Maria  Padilla  (written  for  her  by  Donizetti), 
Saffo,  Vestaie,  Elvira  (in  Ernani).  In  1870 
she  established  a  singing-school  at  Milan. 

Abbadl'a,.  Natale,  b.  Genoa,  Mar.  11, 
1792;  d.  Milan,  circa  1875.  Chorus- master 
1831-37  at  Carlo  Felice  Th.,  Milan.  Comp. 
the  opera,  Giannina  di  Pontieu,  ow.  La  viila- 
neUa  d'onore  (Genoa,  1812),  and  the  farce 
L'imbroglione  ed  il  castigamatti  (do.);  also 
masses,  motets,  etc. 

Abbatl'nl,  Antonio  Maria,  Roman  com- 
poser; b.  Tiferno  (Citta  di  Castello),  1595 
(1605?);  d.  there  1677.  Maestro  di  cappeila 
at  the  Lateran,  1626-8,  and  thereafter  suc- 
cessively at  4  other  Roman  churches.  Comp. 
much  church-music,  most  still  in  MS.;  publ. 
3  books  of  Masses,  4  of  Psalms,  various  24- 
part  Antiphons  (1630,  '38,  '77),  5  books  of 
Motets  (1635),  and  a  dram,  cantata,  II 
Pianto  di  Rodomonte  (Orvieto,  1633).  Co- 
worker with  Kirchcr  on  the  'Musurgia.' 
Prod.  3  operas:  Del  male  in  bene  (Rome, 
1654;  one  of  the  earliest  comic  operas,  and 
historically  important  as  introd.  the  final 
ensemble;  comp.  Goldschmidt,  Studien  zur 
Geschichte  d.  Oper,  vol.  i),  lone  (Vienna, 
1666),  and  La  comica  del  cielof  or  La  Balta- 
sara  (Rome,  1668). — See  Q.-Lex. 

Abbey,  John,  noted  English  organ-builder; 
b.  Whilton,  Northamptonshire,  Deo  22, 1785; 
d.  Versailles,  Feb.  19,  1859.  On  Seb.  Erard's 
invitation  he  went  to  Paris  in  1826,  settled 
there,  and  built  many  organs  for  churches, 
cathedrals,  chapels,  etc.,  throughout  France. 
His  sons,  E.  and  J.  Abbey,  carried  on  the 
business  at  Versailles. 

Abbott,  Emma,  dramatic  soprano,  b.  Chi- 
cago, Dec.  9,  1850;  d.  Salt  Lake  City,  Jan. 
5,  1891.^  After  years  of  hard  work  as  a 
natural  singer  ana  guitar-player,  she  came  to 
New  York  abt.  18/0,  took  lessons  of  Erani, 


ABD  EL  KADIR— ABERT 


sang  in  Dr.  Chapin's  church,  and  in  1872, 
aided  by  the  congregation,  went  to  Europe, 
studying  with  Sangiovanni  at  Milan  and 
Delie  Sedie  at  Paris.  She  sang  with  great 
success  abroad  and  at  home.  Married,  1878, 
Mr.  E.  Wetherell  of  N.  Y.  (d.  1888). 

Abd  el  Kadir  (or  Abdolkadir),  Ben  Isa, 

Arabian  writer  in  the  14th  century,  author  of 
3  mus.  treatises  noticed  by  Kiesewetter 
('Musik  der  Araber,'  1842,  p.  33):  The  Col- 
lector of  Melodies;  The  Aim  of  Melodies  in  the 
Composition  of  Tones  and  Measures;  and  The 
Treasure  of  Melodies  in  the  Science  of  Musical 
Cycles., 

Abellle,  (Johann  Christian)  Ludwig,  b. 

Bayrcuth,  Feb.  20,  1761;  d.  Stuttgart,  Mar. 
2,  1838.  Leader  of  the  Duke  of  WUrttem- 
berg's  private  orch. ;  later  court  org.  and  mus. 
director.  Fine  pianist  and  organist;  comp. 
the  Singspiele  Amor  und  Psyche  (Stuttgart, 
1801),  and  Peter  und  Annchen  (Stuttg.,  1809); 
harpsichord-  and  chamber-music  (concertos, 
trios,  duets,  etc.);  and  songs  still  sung  in 
schools. — See  Q.-Lex. 

Abel,  (Leopold)  August,  b.  1717  at 
Kothen  (where  his  father,  Christian  Ferdi- 
nand A.,  was  a  viola-da-gamba  player);  d. 
Ludwigslust,  Aug.  25,  1794;  fine  violinist; 
played  in  court  orchestras  at  Brunswick,  Son- 
dershausen,  Berlin,  and  Schwerin;  publ.  some 
easy  etudes. 

AT>el,  Clamor  fHeinrlch),  b.  Westphalia 
near  middle  of  17th  century;  d.  (?).  Publ.  3 
sets  of  pieces  for  strings  (fanzsuilen,  1674, 
76,  f77).  He  was  chamber-musician  at  the 
Hanoverian  Court. 

A'bel,  Karl  Friedrlch,  renowned  player 
on  the  viola  da  gamba;  b.  Kothen,  1725;  d. 
London,  June  20,  1787.  He  received  thor- 
ough training  from  his  father,  and  from  J.  S. 
Bach  at  the  Thomasschule,  Leipzig;  member 
of  the  Royal  Polish  Band  at  Dresden,  1748- 
58;  visited  Leipzig  and  other  German  towns, 
and  went  to  London  in  1759,  where  the  Duke 
of  York  assisted  him.  In  1765,  chamber- 
musician  to  Queen  Charlotte.  He  was  inti- 
mate with  Joh,  Chr.  Bach.  He  comp.  2 
operas:  Love  in  a  Village  (London,  1760),  and 
Berenice  (1764);  also  popular  symphonies, 
overtures,  quartets,  sonatas  for  harpsichord, 
concertos  "for  harpsichord  and  strings,  etc. 
(Eitner  mentions  some  60  different  sets  and 
single  pieces  still  extant.)  He  revisited  Ger- 
many 1783-5,  returning  to  London  via  Paris. 
He  was  the  last  great  virtuoso  on  the  gamba. 

A'bel,  Ludwig,  b.  Eckartsberga,  Thurin- 
gia,  Jan.  14,  1834;  d.  Neu-Pasing,  n.  Munich, 
Aug.  13,  1895.  Pupil  of  Ferd.  David;  mem- 
ber of  Gcwandhaus  orch.  at  Leipzig,  the  Wei- 
mar court  orch.  (1853),  leader  of  court  orch. 
at  Munich  (1867),  teacher  in  and  (1878)  In- 
spector of  the  Royal  Music-School  then  man- 


aged by  v.  Biilow;  1880,  royal  Professor;  re- 
tired on  pension,  1894.  Violin-virtuoso  of 
high  rank,  and  an  excellent  orch.  conductor; 
wrote  a  good  Violin  Method;  also  studies, 
variations,  etc. 

A 'bell,  John,  a  celebrated  alto  singer  (m«- 
sico)t  and  lutenist;  b.  London,  c.  1660;  d. 
Cambridge  (?),  c.  1724.  In  1679,  member  of 
the  Chapel  Royal;  fled  to  the  Continent  dur- 
ing the  Revolution  of  1688,  and  won  fame 
and  wealth  by  his  singing.  In  Kassel  he  was 
made  Intendant.  of  Music  (1698-9).  About 
1700  he  returned  to  England.  He  was  also  a 
song-writer  and  collector  (collections  publ.  in 
1701,  and  1740). 

A'bendroth,  Hermann,  b.  Frankfort, 
Tan.  19,  1883.  Pupil  of  L.  Thuilie  and  A. 
Langenhan-Hirzel  in  Munich;  1903-04  con- 
ductor of  the  'Ch-chestd-verem'  in  Munich; 
1905-11  in  Liibeck  as  first  cond.  at  the 
'Stadt theater'  and  cond.  of  the  'Verein  der 
Musikfreunde.'  In  1911  he  was  called  as 
municipal  music  director  to  Essen,  and  in 
1914  he  succeeded  Fritz  Steinbach  in  the 
direction  of  the  'Giirzenich'  concerts  in 
Cologne. 

A'bendroth,  Irene,  coloratura  soprano;  b. 
Lemberg,  July  14,  1872.  Pupil  of  Frau 
Wilczek;  member  of  Vienna  court  opera 
1889,  sang  in  Riga  and  Munich,  and  again 
in  Vienna  (1894-99);  eng.  1899-1908  at  the 
Royal  Opera  in  Dresden. 

A'benheim,  Joseph,  violinist;  b.  Worms, 
1804;  d.  Stuttgart,  Jan.  19,  1891.  Member 
and  (1854)  musical  director  of  the  Stuttgart 
Cons.  orch.  Composed  overtures,  entr'acte 
music,  etc.;  some  minor  pf. -pieces  and  songs 
have  been  published. 

A'bert,  Hermann,  b.  Stuttgart,  Mar.  25, 
1871;  pupil  of  the  Cons,  and  his  father, 
Joh.  Jos.  A.  Dr.  phil.,  Tubingen,  1897; 
Dozent  for  mus.  science  at  Halle  Univ.,  1902; 
prof.,  1909.  Works:  Die  Lehre  vom  Ethos  in 
der  griechischen  Musik  (1902) ;  biogr.  of  Schu- 
mann (1903,  in  Reimann's  'Ber.  M\is.')\Die 
Musikanschauung  des  Mittelalters  und  ihre 
Grundlagen  (Halle,  1905);  Die  dram.  Musik 
am  Hofe  Herzog  Karls  von  Wurttemberg 
(1905) ;  JV.  JommeUi  als  Opernkomponist(HaA\e, 
1908) ;  Geschichte  d.  Rob.  Franz  Singakademie 
zu  Halle  (Halle,  1908);  historical  essays 
(IMS.);  etc.  He  edited  several  older  operas. 
Since  1914  he  is  editor  of  the  'Gluck 
Jahrbuch.' 

A'bert,  Johann  Joseph,  b.  Kochowitz, 
Bohemia,  Sept.  21,  1832;  d:  Stuttgart,  Apr. 
1,  1915.  Choir-boy  at  Gastdorf  and,  from  8 
to  15,  at  Leipa  monastery,  whence  he  fled  to 
an  uncle  in  Prague,  who  sent  him  (1848)  to 
the  Prague  Cons.  (Kittl,  Tomacek).  He  first 
st.  the  double-bass;  his  etudes,  concertos,  etc., 
for  this  instr.  arc  classics.     He  also  wrote 


ABOS-ACKTfi 


overtures,  and  graduated  in  1852  with  a 
symphony  in  C  minor.  Engaged  as  double- 
bass  player  in  the  court  orch.  at  Stuttgart,  he 
comp.  2  symphonies  (G  min.  and  A  maj.), 
and  an  opera,  Anna  von  Landskron  (Stutt- 
gart, 1859).;  in  1860  a  second  opera,  Die 
Almohoden,  was  prod.  Studied  further  in 
Paris  and  London;  wrote  opera  KonigEntio 
(1862)  after  returning  to  Germany,  and^  a 
symphonic  poem,  Columbus,  which  made  him 
famous.  A  3-act  romantic  opera,  Astorga 
(Stuttgart,  1866),  followed;  A.  was  then  app. 
Musikdirektor  and  (1867)  Kapellm.  at  the 
Stuttgart  Court  Th.,  succeeding  Eckcrt;  he 
retired  in  1888.  Other  works  are  the  5-act 
opera  Ekkehard  (Berlin,  1878),  probably  his 
magnum  opus;  a  5th  symphony  in  C  min., 
and  a  6th  'lyric'  symphony  in  D  min.;  a 
mass  f.  mixed  ch.  w.  org.-accomp. ;  over- 
tures, string-quartets,  pf.-pes.  and  songs. 

Abos   (or  Avos,  d'Avoua),   Girolamo, 

comp.  for  stage  and  church;  b.  Malta,  c. 
1708;  d.  Naples,  1786(?).  Pupil  of  Leo  and 
Durante  at  Naples;  in  1756,  maestro  al  cem- 
balo at  the  Italian  Th.,  London;  in  1758, 
teacher  in  the  Cons,  della  Pieta  de'  Turchini, 
Naples  (Paisiello  was  his  pupil).  Wrote  14 
operas  for  Naples,  Rome  ana  London,  and, 
after  1758,  much  sacred  music  (7  masses, 
several  litanies,  etc.). — See  Q.-Lex. 

Abraham,  John.    See  Braham. 

Abraham,  Dr.  Max,  b.  Danzig,  1831; 
d.  Leipzig,  Dec.  8,  1900.  He  became 
a  partner  in  C.  F.  Peters'  'Bureau  de  Mu- 
sique*  in  1863,  and  sole  proprietor  in  1888. 
On  Jan.  1,  1894,  his  nephew,  Heinrlch  Hin- 
richsen,  of  Hamburg,  entered  the  firm,  and 
is  now  its  head.  The  famous  'Edition  Peters' 
was  inaugurated  by  Dr.  A. 

Abranyi,  Emil,  b.  Budapest,  Sept.  22, 
1882.  Has  comp.  the  Hungarian  operas  A 
kodkirdly  (King  of  the  Mist;  Budapest, 
1903);  MonnaVanna  (ibid.,  1907);  Paolo 
and  Francesca  (ibid.,  1912).  In  1907,  Ka- 
pellm. at  the  Royal  Th.,  Hanover;  since 
1911  Kapellm.  in  Budapest. 

Abranyi,  Kornel,  b.  Oct.  15,  1822,  at 
Szent  GyOrgz  Abranyi,  Hungary,  of  the  noble 
Hungarian  family  Eordogh;  d.  at  Budapest, 
Dec.  20,  1903.     He  founded  the  first  Hun- 

farian  musical  journal  (1860),  the  Singers' 
Inion  (1867),  and  was  one  of  the  chief  pro- 
moters of  the  National  Mus.  Acad,  at  Pest, 
of  which  he  was  a  professor  and  the  secre- 
tary (1875).  His  publ.  comps.  (songs, 
choruses,  etc.)  are  in  the  national  vein. 

Abt,  Franz,  song-writer  and  conductor; 
b.  Eilenburg,  Dec.  22,  1819;  d.  Wiesbaden, 
Mar.  31,  1885.  He  was  sent  to  the  Leipzig 
Thomasschule  to  study  theology,  his  father 
being  a  clergyman,  and  later  obtained  an 


excellent  musical  education  both  there  and 
at  the  Univ.  On  his  father's  death  he  gave 
up  theology,  having  already  made  several 
successful  attempts  at  composition,  and  hav- 
ing conducted  a  students'  philharmonic  so- 
ciety. In  1841  he  went  to  Bernburg  as 
Kapellm.  of  the  Court  Th.,  but  in  the  same 
year  relinquished  this  post  for  a  similar  one 
at  the  Zurich  Th.  Here  he  remained  till 
1852,  conducting  several  singing-societies  and 
composing  many  vocal  works,  particularly 
for  men's  voices.  He  was  then  app.  2nd  Ka- 
pellm. at  Brunswick,  3  years  later  becoming 
1st  Kapellm.,  a  position  held  up  to  1882, 
when  he  retired  on  pension  to  Wiesbaden. — 
Abt  wrote  over  500  works,  comprising  more 
than  3,000  numbers;  the  largest  are  the  7 
secular  cantatas.  His  popularity  as  a  song- 
writer is  due  chiefly  to  the  flowing,  easy  and 
elegant  style  of  his  vocal  melodies,  many  of 
which  (Wenn  die  Schwalben  heimwdris  zieh'n, 
Cute  Nacht,  du  mein  herniges  Kind,  So  viele 
tausend  B lumen,  etc.)  have  become  true  folk- 
songs; numerous  part-songs  are  likewise  de- 
servedly prime  favorites;  in  these  and  his 
choruses  for  men's  and  for  women's  voices, 
he  rivals  Mendelssohn  in  the  hearts  of  his 
countrymen.  On.  his  vocal  works  rests  his 
lasting  fame;  his  pf. -com positions,  of  a  light 
and  popular  character,  are  already  forgotten. 

Achsharumov  [ah-shah-roo'm6hv],  De- 
metrius Vladimirovitch,  b.  Odessa,  Sept. 
20,  1864.  Began  the  study  of  violin  with 
Krassnokutski;  went  to  Petrograd  to  L.  Auer, 
and  later  to  Vienna,  where  he  studied  comp. 
with  R.  Fuchs;  at  the  same  time  continued 
his  violin  studies  with  J.  Dont.  From  1890- 
98  he  made  a  number  of  successful  concert 
tours;  he  then  settled  in  Pultava  as  cond.  of 
the  Symphony  concerts,  and  in  the  following 
year  was  appointed  director  of  the  newly  es- 
tablished local  branch  of  the  Imp.  Russ. 
Mus.  Soc. 

Ack'ennann,  A.  J.,  b.  Rotterdam,  Apr. 
2,  1836.  Studied  at  The  Hague  in  the  R. 
Music-School,  under  Liibeck,  Nicolas  and 
Wietz;  app.  teacher  of  pf.  there  in  1865;  of 
org.  and  theory,  1867.— Works:  Pf.-pieces  for 
2  and  4  hands;  songs. 

Acktg,    Aino    (Mme.    AcktS-Renvall), 

dramatic  soprano;  b.  Helsingfors,  Finland, 
Apr.  23,  1876.  Entered  the  Paris  Cons,  in 
1894;  made  her  debut  in  1897  at  the  Grand 
Opera  as  Marguerite  (Faust).  The  success 
of  her  tour  of  Germany  in  1902  led  to  her 
engagement  at  the  M.  O.  H.  in  1904-05. 
Her  impersonation  of  Salome,  in  Strauss* 
opera,  at  Cov.  G.  Th.  in  1913  was  followed 
by  an  invitation  from  the  composer  to  sing 
the  part  also  at  Dresden  and  Paris.  Rdles: 
Marguerite,  Juliette,  Ophelie,  Gilda,  Nedda, 
Elisabeth,  Elsa,  Sieglinde,  etc 


ACTON— ADAMOWSKI 


Acton,  John,  English  singing-teacher  and 
composer;  b.  Manchester  (?),  1863.  Pupil  of 
Francesco  Lam  pert  i  at  Milan.  Prof,  of  sing- 
ing at  the  Manchester  R.  C.  M.  since  its 
opening  in  1893;  since  1894,  cond.  of  the  St. 
Cecilia  Choral  Soc. — Works:  2  cantatas  f. 
women's  voices,  Forest  Bells,  and  The  Rose 
and  the  Nightingale;  a  male  chorus,  For  Home 
and  Liberty,  w.  pf.-accomp.  (prize  from  S. 
London  Mus.  Club,  1888);  also  duets,  songs 
and  pf. -pieces. 

Adalid  y  Gurre'a,  Marcel  del,  Spanish 
composer;  b.  La  Coruna,  Aug.  26,  1826:  d. 
Longara,  Oct.  16,  1881.  Studied  with 
Moscheles  in  London  and  Chopin  in  Paris. 
Published  3  collections  of  Galician  Folk- 
songs; wrote  an  opera,  Inese  e  Bianca  (on  an 
Italian  text),  and  pf. -pieces. 

Adam    [ah-dahn'J,   Adolphe  (-Charles)  t 

celebrated  opera-composer,  was  b.  Paris,  July 
24,  1803;  d.  there  May  3,  1856.#  He  entered 
the  Cons,  in  1817;  but  made^  little  progress 
until  taken  in  hand  by  Boieldieu  in  his  class 
for  composition.  After  publishing  various 
pf.-pieces,  he  brought  out  the  1-act  opera 
Pierre  et  Catherine  (1829),  the  success  of 
which  encouraged  him  to  produce  13  more 
similar  works  in  quick  succession,  the  Pos- 
tilion deLongjumeau  (1836)  gaining  European 
celebrity  for  its  author,  and  still  keeping  his 
name  in  grateful  memory.  In  all,  he  wrote 
53  theatrical  works,  the  most  popular  operas 
after  the  Postilion  being  Le  Chdlet  (1834),  he 
fidele  Berger,  Le  Brasseur  de  Preston  (1838), 
Le  Roi  d'  Yvetot  (1842),  La  Poupee  de  Nurem- 
berg, Cagliostro,  and  Richard  en  Palestine 
(1844);  also  the  ballets  Giselle,  Le  Corsaire, 
Faust,  etc.  In  1847,  on  account  of  difficulties 
with  the  director  of  the  Opera-Comique,  A. 
founded  the  Theatre  National,  but  was 
ruined  financially  by  the  revolution  of  1848, 
and  entered  the  Paris  Cons,  as  prof,  of 
comp. — A.  does  not  rank  with  the  foremost 
dramatic  composers  of  France,  his  style  being 
distinguished  by  taking  rhythms  and  light 
elegance  and  grace,  rather  than  forceful 
originality.  His  forte  was  comedy-opera,  in 
which  he  was  a  worthy  successor  of  Boiel- 
dieu.— His  autobiographical  Souvenirs  d'un 
Musicien  and  Verniers  Souvenirs  d'un  Musi- 
cien  were  publ.  at  Paris  in  1857-59  [1871], 
Life  by  A.  Pougin  (1876). 

A 'dam,  Karl  Ferdinand,  b.  Constappel, 
n.  Meissen,  Dec.  22,  1806;  d.  Leisnig,  Dec.  23, 
1868,  as  cantor  and  musical  director  there. — • 
Works:  Popular  choruses  and  quartets  for 
men's  voices;  songs;  pf.-pieces. 

Adam,  Louis,  b.  Muttersholz,  Alsatia, 
Dec.  3,  1758;  d.  Paris,  Apr.  8,  1848.  He 
went  to  Paris  in  1775,  and  from  1797-1842 
was  prof,  of  pf.  at  the  Paris  Cons;  He  was 
a  close  student  of  the  German  classic  masters, 


an  admirable  pianist,  a  comp.  of  numerous 
pf.-pieces  much  in  vogue  at  the  time  (espe- 
cially the  variations  on  'Le  roi  Dagobert'), 
and  an  eminent  pedagogue^  the  teacher  of 
Kalkbrenner,  Herold,  Henri  le  Moine  and 
F.  Chaulieu,  and  author  of  two  standard 
instruction-books  for  piano:  Mdhode  ou  Prin- 
cipe generate  du  doigte-pour  le  Forte-piano 
(Paris,  Sieber,  1798),  and  Melhode  nouveUe 
pour  le  Piano  (5  editions,  1802-32),  written 
expressly  for  pupils  of  the  Cons. 

Adam  de  la  Hale  (or  Halle),  called  le 
Bossu  d' Arras  (Hunchback  of  Arras);  b. 
Arras,  circa  1240;  d.  Naples,  1287.  A  gifted 
Trouvere.  many  of  whose  works  have  been 
preserved  (publ.  1872  by  Coussemaker  as 
CEuvres  completes  du  Trouvere  Adam  de  la 
Hale);  the  most  interesting  is  a  dramatic 
pastoral  entitled  Lejeu  de  Robin  et  de  Marion 
(1285),  written  for  the  Aragonese  court  at 
Naples,  resembling  an  opera  comique  in  its 
plan.  He  was  a  master  of  the  chanson,  in 
the  dual  capacity  of  poet  and  composer;  his 
works  are  of  the  utmost  value  as  illustrating 
the  music  of  the  period. — Cf.  E.  Langlois, 
Le  jeu  de  Robin  et  de  Marion  (Paris,  1896) ; 
H.  Guy,  Essai  sur  lavieetles  auvres  litter  aires 
d'Adam  de  la  Hale  (Paris,  1898). 

*A'dam  von  Fulda,  noteworthy  German 
theorist  and  composer;  b.  circa  1440;  d.  (?). 
His  treatise  on  mus.  theory  is  to  be  found  in 
vol.  iii  of  Gerbert's  'Scriptores  ecclesiastici' ; 
his  compositions  were  highly  prized  in  then- 
day.  Cf.  H.  Riemann  in  4Kchm.  J.'  (1879) 
and  W.  Niemann,  ibid.  (1902). — See  Q.-Lex. 

A'damberger,  Valentin  (not  Joseph),  b. 
Munich,  July  6,  1743;  d.  Vienna,  Aug.  24, 
1804.  Dramatic  tenor,  pupil  of  Valesi 
1755-61;  eng.  at  Venice,  1762,  as  1st  tenor; 
sang  with  growing  success  in  other  Italian 
cities,  and  assumed  the  name  of  'Adamonti.' 
He  sang  in  London  in  1777,  and  in  1780 
was  eng.  at  the  Vienna  Court  Opera,  in  1 789 
also  as  'Hofkapellsanger.'  Mozart  wrote  for 
him  the  part  of  Belmonte,  and  some  concert- 
arias. 

Ada'mi  da  Bolse'na  (or  da  Vol  terra), 
Andrea,  b.  Venice,  Oct.,  1663;  d.  Rome, 
July  22,  1742.  Famed  as  the  author  of 
Osservuzioni  per  ben  regolare  it  coro  dei  can- 
tori  delta  cappella  Pontificia  (Rome,  1711),  a 
work  of  historical  value.  Cantor  of  the 
Pontifical  Chapel,  and  music-teacher. 

Adamon'ti.    See  Adam  berger. 

Adamowski  l-mohv'skel,  Joseph,  b. 
Warsaw,  July  4,  1862.  Pupil  at  Warsaw 
Cons.  (1873-77)  of  Kontski  and  Goebelt 
('cello);  at  Imp.  Cons.,  Moscow  (1877-83)  of 
Fitzenhagen  ('cello),  Tchaikovsky  (comp.), 
Pabst  (pf.);  studied  at  the  University,  re- 
ceiving the  degree  of  B.  A.    Began  conceit 


ADAMOWSKI— ADLER 


tour9  in  Warsaw  in  1883;  played  also  in  Ger- 
many; 1885-7  prof,  of  'cello  and  ensemble 
classes  in  Cons,  at  Cracow;  1889  member  of 
Bost.  Symph.  Orch.;  member  of  Adamowski 
Quartet  and  Trio.  Since  1903  he  has  been 
prof,  of  'cello  at  New  Engl.  Cons,  at  Boston; 
is  one  of  the  founders  and  directors  of  the 
B.  S.  O.  Pension  Fund;  married  in  1896  the 
pianist  Antoinette  Szumowska  (q.  v.). 

Adamow'ski,  Tlmothee,  born  at  War- 
saw, Mar.  24,  1858.  Viol  in- virtuoso;  at  first  a 
pupil  of  A.  Kontchi  at  Warsaw  Cons.;  1876-9 
of  Massart  in  Paris  Cons.  In  1879  he  went  to 
America,  and  travelled  as  soloist  with  M. 
Strakosch,  Clara  Louise  Kellogg,  and  finally 
with  a  company  of  his  own,  with  which  he 
played  in  Boston,  New  York,  Philadelphia, 
Washington,  Chicago,  etc.  From  1885-6  he 
taught  in  the  New  Engl.  Cons.,  Boston;  in 
1888  he  organized  the  Adamowski  String- 
quartet  (A.,  E.  Fiedler,  D.  Kuntz,  and  G. 
Campanari;  reorganized  1890  with  A.,  A. 
Moldauer,  Max  Zach  and  Josef  Adamoswki, 
the  last  a  brother  of  T.  A.,  and  an  excellent 
'cellist).  In  1887  A.  appeared  at  London 
and  Warsaw;  in  1895,  again  in  London  and 
Paris,  since  which  time  he  has  spent  the 
summer  season  regularly  in  these  two  cities. 
In  1898  he  played  at  Warsaw  with  the  Phil- 
harm.  Orch.  and  the  Mus.  Society.  His  quar- 
tet gives  about  30  concerts  annually  in  the 
chief  towns  of  the  U.  S.  From  1890-4  he 
also  cond.  the  six  weeks'  popular  summer 
concerts  of  the  Boston  Symphony  Orch. — 
He  has  publ.  several  songs,  and  has  a  Novel- 
lette  f.  vln.  and  pf.  in  MS. 

Ad'ams,  Charles  R.,  fine  dramatic  tenor; 
b.  Charlestown,  Mass.,  circa  1848;  d.  West 
Harwich,  Mass.,  July  3,  1900.  Pupil  in 
Vienna  of  Barbieri;  was  then  eng.  for  3 
years  at  the  Royal  Opera,  Berlin,  and  there- 
after for  9  years  at  the  Imp.  Opera,  Vienna; 
also  sang  at  La  Scala,  Covent  Garden, 
Madrid,  various  German  towns,  in  the  U.  S., 
etc.  a  Settled  in  Boston,  1879.  He  had  a 
predilection  for  Wagner  roles,  and  was  an 
excellent  actor  and  teacher. 

Ad'ams,  Stephen.   See  Maybrick,  M. 

Ad'ams,  Thomas,  eminent  organist  and 
comp.  for  org.;  b.  London,  Sept.  5,  1785;  d. 
there  Sept.  15,  1858.  He  was  a  pupil  of  Dr. 
Busby,  and  organist  at  several  prominent 
London  churches.  His  publ.  organ- works  in- 
clude many  fugues,  voluntaries,  90  interludes, 
and  several  variations  on  popular  airs;  he 
also  wrote  variations  for  piano,  and  many 
anthems,  hymns,  and  sacred  songs.  His 
skill  in  improvising  was  remarkable;  for 
years  he  had  charge  of  the  performances  on 
Flight  and  Robson's  'Apollonicon.' 


Ad'cock,  James,  b.  Eton,  England,  Tune 
29, 1778;  d.  Cambridge,  Apr.  30,  1860.  Chor- 
ister, 1786,  of  St.  George  s  chapel,  Windsor, 
and  lay-clerk  in  1797 ;  later  a  member  of 
various  church-choirs  in  Cambridge;  and, 
finally,  choir-master-  at  King's  College. — 
Works:  Several  3-  and  4-part  glees;  an  even- 
ing service  in  Bb;  anthems;  and  a  book,  The 
Rudiments  of  Singing. 

Ad'dison,  John,  composer  and  double- 
bass  player;  b.  London,  circa  1765;  d.  there 
Jan.  30,  1844. — Works:  6  operettas,  very 
popular  at  the  period;  a  'sacred  drama/ 
Elijah;  songs,  glees,  etc.;  also  Singing  Prac- 
tically Treated  in  a  Series  of  Instructions 
(London,  n.  d.  [1836]). 

A'delburg,  August,  Ritter  von;  b.  Con- 
stantinople, Nov.  1,  1830;  d.  insane  at 
Vienna,  Oct.  20,  1873.  Fine  violinist,  pupil 
(1850-4)  of  Mayseder.  His  tone  is  said  to 
have  been  well-nigh  unmatchablc  in  fullness; 
his  numerous  comps.  were  chiefly  for  violin 
(concertos,  sonatas  for  pf.  and  vln.,  string- 
quartets),  and  some  sacred  pieces;  also  3 
operas:  Zrinyi  (Pest,  1£68);  Wallenstein; 
and  Martinuzsi. 

A'delung.    See  Adlung. 

Adler  [and'-],  Guido,  mus.  theorist  and 
writer;  b.  EibenschQtz,  Moravia,  Nov.  1, 
1855.  Studied  at  the  Academic  Gymnasium 
in  Vienna,  where  he  conducted  the  pupils' 
chorus,  and  at  the  Vienna  Cons,  under 
Bruckner  and  Dessoff;  entered  the  Univ.  in 
1874,  and  founded,  in  cooperation  with  Felix 
Mottl  and  K.  Wolf,  the  academical  Wagner 
Society;  took  the  degree  of  Dr.  fur.  in  1878, 
and  in  1880  that  of  Dr.  phil.  (dissertation  on 
Die  hislorischen  Grundklassen  der  christlich- 
abendlandischen  Musik  bis  1600),  and  in  1881 
qualified  as  private  lecturer  on  mus.  science 
(thesis,  Studie  zur  Geschichte  der  Harmonie). 
With  Chrysander  and  Spitta  he  founded,  in 
1884,  the  'Vierteljahrsscnrift  fur  Musikwis- 
senschaft';  in  1885  he  was  app.  prof,  of  mus. 
science  in  the  German  Univ.  at  Prague, 
writing  a  monograph  on  the  Faux  bourdon 
and  the  treatise  by  Gulielmus  Monachus.  In 
1892,  he  was  elected  president  of  the  central 
committee  of  the  'Internat.  Ausstellunz  fur 
Musik  und  Theater';  in  1895,  he  succ.  Hans- 
lick  as  prof,  of  mus.  history,  Univ.  of  Vienna, 
becoming  'prof,  in  ordinary'  in  1898.  Since 
1913  he  has  been  editor  of  'Studien  zur  Mu- 
sikwissenschaft,'  which  serve  as  critical  sup- 
plements to  the  'Denkmaler  der  Tonkunst 
in  Osterreich.' — Other  publ.  essays  are  Die 
Wiederhdlung  u.  Nachahmung  in  der  Mehr- 
stimmigkeit;  Ein  Sat*  eines  unbek.  Beethoven- 
schen  Klavierkonserts ;  Die  mus.  Autographen 
u.  reuidierlen  Abschriften  Beethooens  im  Be- 
situ  von  A.  Artaria;  Richard  Wagner  (lec- 
tures);    Vber    Textlegung    in    den    Trienter 


ADLER— AGAZZARI 


Codices.  An  important  book  is  Der  Stil  in 
der  Musik  (1912). 

Adler,  Vincent,  pianist  and  composer; 
b.  Raab,  Hungary,  Apr.  3,  1826;  d.  Geneva, 
Jan.  4,  1871.  Pupil  of  his  father,  and 
of  Erkcl  at  Pest;  studied  in  Vienna  and 
Paris;  1865,  prof,  at  Geneva  Cons. — Works: 
Op.  11,  Valse  rococo;  op.  13,  Feuilles  d% Al- 
bum; op.  15,  Allegro  de  concert;  op.  16, 
Etudes  ae  style;  op.  24,  Grande  Marche;  op. 
26,  Barcarolle;  etc. 

A'dlgasser,  Anton  Gajetan,  b.  Innzell, 
Bavaria,  Apr.  3,  1728;  d.  Dec.  21,  1777,  at 
Salzburg,  where  he  had  studied  under  Ebcr- 
lin,  and,  since  1751,  was  first  organist  at  the 
cathedral. — Works:  Church-comps.  of  merit. 
— See  Q.-Lex. 

Adlung  fahd-]  (or  A'delung),  Jakob,  b. 
Binderslebcn,  near  Erfurt,  Jan.  14,  1699;  d. 
Erfurt,  July  5,  1762.  Pupil  of  Chr.  Rcichardt 
at  Erfurt;  became  town  organist  (1728)  and 
prof,  in  the  gymnasium  (1741),  also  giving 
private  music-lessons.  He  was  not  only  an 
indefatigable  teachtr  of  the  clavichord,  but 
also  built  16  clavichords  with  his  own  hands. 
Three  of  his  works,  Anleitung  zur  mus.  Ge- 
lahrtheU  (1758;  2nd  ed.,  1783,  revised  by 
J.  A.  Hiller),  Musica  mechanica  organoeai 
(1768),  and  Musikalisches  Siebengestirn  (1768), 
have  historical  value. 

Adolfa'tl,  Andrea,  b.  Venice,  circa  1711; 
d.  Genoa  (?),  circa  1760.  Pupil  of  Galuppi; 
m.  di  capp.  at  church  of  the  Madonna  aclla 
Salute,  Venice,  and  (1750)  at  the  church  del- 
l'Annunciazione,  Genoa.  He  wrote  5  operas 
and  much  church-music. 

Adras'tos,  pupil  of  Aristotle;  peripatetic 
philosopher  of  Pnilippopolis  circa  330  B.  c; 
wrote  Three  Books  of  Harmony  (a  Latin 
translation  was  found  in  1788  in  the  library  of 
the  King  of  Sicily). 

A'drlaensen,  Emmanuel  (called  Hadri- 
anus),  b.  Antwerp.  Eminent  lutcnist  of  the 
16th  century;  publ.,  1584,  Pratum  musicum, 
arr.  of  songs  and  dances  for  2-4  lutes;  and, 
1592,  a  coll.  of  canzonets,  dance-tunes,  fan- 
tasias, madrigals,  motets  and  preludes  (by 
C.  di  Rore,  O.  di  Lasso,  J.  van  Berchem, 
H.  Waelrant,  etc.),  freely  transcribed  for  lute 
in  tablature. 

Adriano  dl  Bologna.    See  Banchikri. 

Adrien  (Andrien),  Mar  tin- Joseph  [also 
called  La  Neuville,  or  Adrien  raine],  b. 

Liege,  May  26,  1767;  d.  Paris,  Nov.  19,  1822. 
From  1785-1804,  bass  singer,  then  chorus- 
master,  at  Paris  Grand  Opera;  1795-9,  and 
again  in  1822,  prof,  of  lyric  declamation  at 
the  'fecole  royale  de  musique.' — Works: 
Opera,  Le  Fou  ou  la  Revelation  (Amsterdam, 
1829);  Hymne  a  la  Liberie  (1792,  celebrating 


the  Prussians'  departure);  Hymne  a  la  Vic- 
toire  (1795);  and  the  Hymne  aux  martyrs  de 
la  liberie. 

Aerts  [ahrts],  figide,  flutist;  b.  Boom,  near 
Antwerp,  Mar.  1,  1822;  d.  Brussels,  June  9, 
1853.  Entered  Brussels  Cons,  at  12;  at  15, 
gave  brilliant  concerts  in  Paris;  app.,  1847, 
teacher  of  flute  in  Brussels  Cons. — Works  (in 
MS.) :  Symphonies,  flute-concertos,  etc. 

Afana&slev  [-nah's'yeV],  Nikolai  Jakovle- 
vitch,  violinist  and  com  p.;  b.  Tobolsk,  1821; 
d.  Pctrograd,  June  3,  1898.  Pupil  of  his 
father.  Wrote  some  excellent  chamber-mus., 
an  octet,  several  quintets  and  quartets;  a 
prize  cantata,  The  Feast  of  Peter  the  Great;  an 
opera,  Amalat  Bek;  pes.  for  pf.  and  vl.; 
pf.-pes.;  songs;  also  symphs.  and  oratorios 
(MS.). 

Affer'ni,  Ugo,  b.  Jan.  1, 1871,  at  Florence, 
where  he  attended  the  Cons.;  from  1886-90 he 
studied  at  the  Raff  Cons.,  Frankfort  (Bulow, 
Schwarz,  Urspruch),  and  Leipzig  Cons.  (Rei- 
necke,  Jadassohn,  Piutti) ;  1893-7,  director  of 
three  societies  in  Annaberg;  in  1895,  married 
the  English  violinist  May  Brommer  [b. 
Great  Grimsby,  May  2,  1872;  taught  by 
Herrmann,  Schradieck,  and  Brodsky.  at 
Leipzig  Cons.].  Became  dir.  in  1897  of  the 
new  'Verein  der  Musikfreunde1  at  Lttbeck, 
and  in  1905  succeeded  Lustner  as  cond.  of 
the  Kurkapelle  at  Wiesbaden. — Prod,  a 
lyrical  comedy-opera,  Potemkin  an  der  Donau 
(Annaberg,  1897).  Publ.  pf  .-pieces  and  songs. 

Afra'nlo,  canon  at  Ferrara,  the  reputed 
inventor  of  the  bassoon;  b.  Pavia,  end  of  the 
15th  century.  He  is  mentioned,  and  an  in- 
strument resembling  the  bassoon  depicted,  in 
Alboncsio's  work  Introductio  in  chaldaicam 
linguam  (Pavia,  1539). 

Afzelius,  Arvid  August,  Swedish  writer, 
pastor  at  Enkoping;  b.  May  6,  1785;  d. 
Sept.  25,  1871.  Publ.  2  collections  of  Svenska 
Folksvisor  [Swedish  Folk-songs]  (1814-16,  3 
vols.);  and  Afsked  af  Svenska  Folksharpan 
[Farewell  of  the  Swedish  Folk's- harp]  (1848, 
1  vol.). 

Agazzari  [-gaht-sah'-],  Agostino,  b.  Siena, 
Dec.  2,  1578;  d.  there  Apr.  10,  1640.  En- 
tered the  service  of  the  Emperor  Matthias  as 
a  professional  musician;  proceeding  to  Rome, 
he  was  in  turn  m.  di  capp.  at  the  German 
College  (circa  1609),  the  church  of  St.  Apol- 
linaris,  and  the  'Scminario  romano' ;  intimacy 
with  Viadana  led  to  his  adoption  of  the 
latter's  innovations  in  sacred  vocal  music 
(writing  church  concerti  for  1  or  2  voices 
with  instrumental  harmonic  support).  From 
1630,  m.  di  capp.  at  Siena  cathedral.  His 
works,  variously  reprinted  in  Germany 
and  Holland,  were  in  great  favor,  and 
very  numerous  (madrigals,  psalms,  motets, 


AGELAOS— AGRICOLA 


magnificats,  and  other  church-music) .  His  little 
pamphlet  on  La  musica  ecclesiastica  (Siena, 
1638)  is  a  theoretical  endeavor  to  bring  the 
practice  of  church-music  into  accord  with  the 
Resolution  of  the  Council  of  Trent;  he  was 
also  among  the  first  to  give  written  instruc- 
tions for  performing  the  basso  continuo 
(Preface  to  Book  iii  of  the  Motets  [Zanetti, 
Rome,  1606]);  his  pastoral  drama,  Eumelio 
(1606),  is  one  of  the  very  earliest  operas. 
— See  Q.-Lex. 

Agela'os  of  Tegea,  reputed  the  first  virtu- 
oso on  thecithara  played  alone,  took  first 
prize  given  in  the  Pythian  games  of  559  B.  c. 
for  playing  on  stringed  instruments. 

Agnelli  [ahn-yelle],  Salvatore,  b.  Palermo, 
1817;  d.  1874.  Pupil  of  the  Naples  Cons, 
under  Fur  no,  Zingarelli  and  Donizetti;  began 
his  professional  career  as  a  writer  of  Italian 
operas  for  Naples:  II  Lazxarone  napolitano 
(1839),  and  La  Locanderia  di  spirito  (1839); 
going  to  Marseilles  in  1846,  he  brought  out 
the  operas  La  Jacquerie  (1849),  Leonore  de 
MSdicis  (1855),  and  Les  deux  Avares  (1860), 
besides  several  ballets;  3  operas,  Cromwell, 
Stefania,  and  Sfor*a,  remain  in  MS.  He  also 
wrote  a  cantata  (Apothrose  de^  Napolion  /, 
performed  by  three  orchestras  in  the  Jardin 
des  Tuileries,  1856),  a  Miserere  t  and  a 
Stabat  Mater. 

Agnesi  (ahn-ya'ze],  Luigl  (recte  Louis- 
Ferdinand -Leopold  Agniez),  bass  opera- 
and  concert-singer;  b.  Erpent,  Namur,  July 
17,  1833;  d.  London,  Feb.  2,  1875.  Pupil  of 
Brussels  Cons.;  cond.  of  several  sinking- 
societies,  and  choirmaster  at  St.  Catharine  s 
ch.;  comp.  the  unsucc.  opera  Harold  le 
Normand  (1858);  st.  1861  with  Duprez; 
filled  numerous  engagements  in  Germany, 
Holland,  Belgium,  Paris,  and  especially  in 
London,  where  his  reputation  was  high. 

d'Agne'si,  Maria  Theresia,  pianist  and 
dramatic  comp.;  b.  Milan,  1724;  d.  1780  (?). 
— Works:  5  operas  (all  given  in  1771),  Sofo- 
nisba  (Naples),  Ciro  in  Armenia  (Milan), 
Nitocri  (Venice),  Insubria  consolata  (Milan), 
//  re  pastor e;  also  sonatas  for  pf.,  and  ditto 
for  harp.' — See  Q.-Lex. 

Agniez,  L.-F.-L.    See  Agnbsi,  L. 

Agosti'ni,  Lodovico,  b.  Ferrara,  1534;  d. 
there  Sept.  20,  1590,  as  chaplain  to  Alphonso 
II  of  Este.  He  was  both  poet  and  composer; 
his  madrigals,  motets,  masses,  vespers,  etc., 
were  published  in  Venice  (Gardano);  also  in 
Milan,  Ferrara,  etc. — See  Q.-Lex. 

Agosti'ni,  Mezio,  b.  Fano,  Aug.  21, 1875. 
He  received  his  mus.  education  at  the  Liceo 
Rossini,  #  where  he  studied,  from  1885-93, 
under  his  father,  Vitali,  Pedrotti  and  Sam- 
bianchi.  Having  held  the  post  of  conductor 
in  various  theatres,  he  was  appointed  by 


Mascagni  prof,  of  harmony  at  the  Liceo  in 
Pesaro.  In  1909  he  succeeded  Wolf-Ferrari 
as  director  of  the  Liceo  Benedetto  Marcello 
in  Venice.  He  wrote  several  operas,  of  which 
II  Cavaliere  del  Sogno  won  a  prize  and  was 
produced  at  Fano  in  1897;  wrote  also  a 
symph.,  4  suites  for  orch.;  2  pf. -trios;  a 
string-quartet;  a  cantata,  A  Rossini;  pf.- 
pieces  and  songs. 

Agosti'ni,  Paolo,  b.  Vallerano,  circa  1575; 
d.  Rome,  1629.  Pupil  of  B.  Nanini;  was  suc- 
cessively organist  of  S.  Maria  in  Trastevere, 
m.  di  capp.  at  S.  Lorenzo  at  Damaso,  and  the 
successor  of  Ugolini  in  the  similar  office  at 
the  Vatican  (1627).  His  publ.  works,  7  books 
of  psalms  (1619),  2  books  of  Magnificats  and 
Antiphons  (1620),  and  5  books  of  Masses 
(1624-28),  form  but  a  small  portion  of  his 
compositions,  which  are  marvels  of  contra- 
puntal ingenuity,  some  of  them  in  48  parts. 
Numerous  MSS.  in  Roman  libraries. — See 
Q.-Lex. 

Agosti'ni,  Pietro  Simone,  b.  Rome, 
1650;  maestro  to  the  Duke  of  Parma.  Wrote 
the  operas  Tolemeo  (Venice,  1668?),  Ippolita 
(Milan,  1670),  La  costanza  di  Rosmonda 
(Genoa,  1670),  LAdalinda  (Aricia,  1673),  II 
Ratio  delle  Sabine  (Venice,  1680),  Floridea 
(Venice,  1687).  Some  of  these  were  written 
in  collaboration  with  Busca,  Ziani  and  de 
Rossi.  He  also  wrote  oratorios,  motets  and 
secular  cantatas. — See  Q.-Lex. 

AgrelT,  Johann  Joachim,  b.  .Ldth, 
Sweden,  Feb.  1,  1701;  d.  Nuremberg,  Jan. 
19,  1765.  From  1723-46,  he  was  court  vio- 
linist at  Kassel,  and  also  noted  as  a  harpsi- 
chord-player; 1746,  after  visiting  Italy,  Ka- 
pellm.  at  Nuremberg. — Works:  Symphonies 
for  orch.;  7  concertos  for  harpsichord  and 
quartet;  7  trios;  several  duos;  6  sonatas  for 
harpsichord  solo. — See  Q.-Lex. 

Agrl'cola  (Ackermann),  Alexander,  emi- 
nent composer,  probably  of  German  nation- 
ality and  b.  in  Holland  circa  1446;  d.  circa 
1506  near  Valladolid,  Spain.  He  was  chor- 
ister at  Milan  (till  1474)  and  Mantua  (till 
1491),  then  entering  the  service  of  Philip  I 
(the  Fair)  of  Burgundy,  whom  he  followed 
from  Brussels  in  1505  to  Spain.  31  of  his 
songs  and  motets  were  printed  by  Petrucci 
(Venice,  1502-3),  who  also  published  (Venice, 
1503)  a  vol.  of  5  masses  (Le  Serviteur,  Je  ne 
demande,  Malheur  me  bat,  Primi  tonit  Se- 
cundi  toni). — See  Q.-Lex. 

Agri'cola,  Johann  Frledrich,  b.  Dobitz- 
schen,  n.  Altcnburg,  Jan.  4,  1720;  d.  Berlin, 
Nov.  12  (Forkel),  Dec.  1  (Schneider),  Dec.  6 
(Voss..Ztg.),  1774.  He  entered  the  Univ.  of 
Leipzig  in  1738  as  a  law-student,  but  also 
studied  music  for  three  years  with  J.  S. 
Bach,  and  later  (1741)  with  Quantz  in  Berlin; 


AGRICOLA— AHLE 


was  made  court -com  poser  (1751)  and  di- 
rector of  the  Royal  Chapel  (1759),  succeeding 
Graun.  His  compositions,  which  had  no  en- 
during success,  were  8  operas  (brought  out 
1750-72  at  Berlin  and  Potsdam),  and  a  va- 
riety of  sacred  music  and  arrangements  of 
the  King's  compositions;  except  a  psalm  and 
some  chorals,  none  was  published.  He  was  a 
good  singing- teacher  (transl.  Tosi's  Method 
of  Singing),  and  was  said  to  be  the  finest 
organist  in  Berlin.  Under  the  pseudonym 
'Olibrio1  he  printed  some  polemical  pam- 
phlets directed  against  Marpur^;  was  also  a 
collaborator  on  Adlung's  Mustca  mechanica 
organoedi. — See  Q.-Lex. 

Agri'cola,  Martin,  a  very  important  mus. 
theorist  and  writer;  b.  Schwicbus  (Branden- 
burg), Jan.  6,  1486;  d.  Magdeburg,  June  10, 
1556.  His  real  name  was  Sore,  but  he 
adopted  the  Latin  name  because  of  his 
descent  from  peasants.  He  is  an  authority 
on  the  instruments  of  his  time,  and  a  valuable 
source  for  the  history  of  notation.  Matthe- 
son  says  that  he  was  the  first  to  abandon  the 
old  tablature  for  modern  notation.  From 
1510  he  was  a  private  music-teacher  in 
Magdeburg;  1527,  app.  cantor  at  the  first 
Lutheran  church  there.  His  ^  friend  and 
patron,  Rhaw,  of  Wittenberg,  printed  several 
of  his  works,  chief  among  which  are  Mustca 
figuralis  deudsch,  Von  den  Proporcionibus 
(both  without  date  or  author's  name,  but 
reprinted  together  in  1532);  Mustca  instru- 
tnentalis  deudsch  (chief  work;  1528,  '29,  '32); 
Rudimenta  musices  (1539,  '43;  this  2nd  ed. 
entitled  Quaestioms  vulgariores  in  musicam); 
Duo  libri  musices  (1561,  being  the  Rudimenta 
and  De  Proporcionibus  in  one  vol.);  Scholia 
in  musicam  planam  Wenceslai  Philomatis 
(1540);  Virdung's  Musica  getutschl  in  verse, 
with  the  original  illustrations;  also  a  few  col- 
lections of  pieces:  Kin  kurtz  deudsch  musica 
(1528);  Musica  choralis  deudsch  (1533); 
Deudsche  Musica  und  Gesangbiichlein  (1540); 
Ein  Sangbiichlein  alter  Sonntags-Evangclien 
(1541).— See  Q.-Lex. 

Agthe  [ahg'tel,  (Wilhelm  Johann)  Al- 
brecht,  son  of  following;  b.  Ballenstedt,  Apr. 
14,  1790;  d.  Berlin,  Oct.  8,  1873.  Pupil  of 
Fischer  in  Erfurt;  in  1810,  music-teacher  in 
Leipzig,  and  member  of  the  Gewandhaus 
Orchestra;  1823,  teacher  of  Logier's  method, 
in  Dresden;  1826  in  Posen  (Theodor  Kullak 
being  one  of  his  pupils);  1830  in  Breslau, 
and  1832  in  Berlin,  where  for  13  years  he 
was  director  of  a  music-school.  Some  of  his 
piano-pieces  are  of  interest. 

Ag'the,  Karl  Christian,  b.  Hettstadt,  June 
16,  1762;  d.  Nov.  27,  1797,  at  Ballenstedt, 
as  court-org.  to  the  Prince  v.  Bernburg. — 
Works:  6  Singspiele,  1  ballet,  sonatas  for 
pf.,  songs,  etc. 


Agua'do  y  Garcia,  Dlonislo,  famous 
guitar-player;  b.  Madrid,  Apr.  8,  1784;  d. 
there  Dec.  20,  1849.  Wrote  various  pieces 
and  etudes  for  guitar,  also  a  Method  (publ. 
1825;  in  French,  1827). 

Agula'rl,  Lucrezia.    See  Agujari. 

Aguilar  [ah-ghe-lahr'],  Emanuel  Abra- 
ham, English  pianist  and  com  p.  of  Spanish 
descent;  b.  Clapham  (London),  Aug.  23 
1824;  d.  London,  Feb.  18,  1904.  His  operas, 
Wave  King  (1855)  and  The  Bridal  Wreath 
(1863)  have  remained  MS.;  wrote  3  symphs. 
(C,  E  m.f  D  m.);  2  overtures;  allegro  for  pf. 
and  orch.;  septet  for  pf.,  wind  and  strings; 
sextet,  pf.  ana  wind;  quartet,  pf.  and  strings; 
2  quartets  for  strings  (A,  D  ra);  3  trios,  pf. 
and  strings  (G  m.,  E,  A  m.). 

Aguile'ra   de    Here'dia,   Sebastiano,   a 

monk,  composer  and  'maestro  de  musica'  at 
the  cathedral  in  Saragossa  early  in  the 
seventeenth  century;  publ.  (1618)  a  coll.  of 
Magnificats  still  sung  there,  and  elsewhere 
in  Spain. 

Agujari  [-yah'-j,  Lucrezia  (known  as  La 
Bastard  ina,  or  Bastardella,  being  the  natural 
daughter  of  a  nobleman),  a  brilliant  singer 
with  phenomenal  compass  (c1-^) ;  b.  Ferrara, 
1743;  d.  Parma,  May  18,  1783.  Her  father 
entrusted  her  instruction  to  P.  Lambert ini; 
in  1764  she  made  a  triumphant  debut,  at 
Florence,  followed  by  a  succession  of  brilliant 
appearances  in  Milan  and  other  Italian  cities, 
also  in  London.  Mozart  wrote  of  her,  that 
she  had  "a  lovely  voice,  a  flexible  throat,  and 
an  incredibly  high  range."  She  sang  by 
preference  the  music  of  Colla,  a  maestro  di  c, 
whom  she  married  in  1780,  then  retiring  from 
the  stage. 

Ahle,  Johann  Georg,  son  of  Joh.  Rud. 
A.;  b.  Miihlhausen,  June  (?).  1651;  d.  there 
Dec.  2,  1706;  succeeded  his  lather  as  organ- 
ist, composed  numerous  works  popular  at  the 
time,  and  was  made  poet-laureate  by  Em- 
peror Leopold  I.  He  wrote  a  method  of 
composition,  Musikalische  Fruhlin*s-,  Som- 
mer-f  Herbst-u.  Winter gesprdche  (1695-1701); 
also  Instrumentalische  Fruhlingsmusik,  and 
Anmuthige  zehn  vierstimmige  Viol-di-gamba 
Spiele  (1681);  also  publ.  a  long  series  of 
volumes  of  dances,  sacred  and  secular  songs, 
many  no  longer  extant. 

Ahle,  Johann  Rudolf,  b.  Miihlhausen, 
Thuringia,  Dec.  24,  1625;  d.  there  July  9, 
1673.  A  diligent  composer  of  church-music 
and  writer  of  theoretical  works;  his  Compen- 
dium pro  tonellis  (1648)  ran  through  4  edi- 
tions [2nd  (1673)  asBrevis  et  perstncua  intro- 
ductio  in  artem  musicam;  3d  ana  4th  (1690 
and  1704)  as  Kurzt  und  deutliche  Anleitung 
].  Principal  compositions:  Geist- 
liche  Dialoge,  songs  in  several  parts  (1648); 


8 


AhlstrOm  — alard 


TkUriwischerLustgarten  (1657) ;  Gcistliche  Fest- 
u.  Communionandachten  (posthumous).  Many 
of  his  chorales  are  still  popular  inThuringia. — 
From  1646  he  was  cantor  in  Gottingen;  in 
1654,  organist  of  St.  Blasius,  Miihlhausen; 
in  1661,  elected  burgomaster  of  the  town.  A 
selection  from  his  works  was  publ.  by  J.  Wolf 
in  4Dkm.  deutscher  Tonkunst'  (vol.  v).— Cf. 
J.  Wolf,  Jok.  Rud.  Ahle%  in  *Sbd.  Int.  M.-G/ 
(1902,  II,  3).— See  Q.-Lex. 

Ahlstrom [awl-],  Jakob Niklas,  b.  Wisby, 
Sweden,  June  5,  1805;  d.  Stockholm,  May 
14,  1857;  comp.  operas  {Alfred  the  Great,  Abu 
Hassan),  incid.  music,  songs;  publ.  w.  Boman 
a  coll.  of  Swedish  folk-songs. 

Ahbtrttm,  Olof,  b.  Stockholm,  Aug.  14, 
1756,  d.  there  Aug.  11,  1835,  as  organist  at 
the  ch.  of  St.  Jacob. — Works:  Piano-sonatas; 
violin-sonatas;  the  collections  Musikalisk 
Tidsfordrift  and  Skaldestykken,  both  contain- 
ing songs  by  himself;  etc. 

Ah'na.    See  Db  Ahna. 

Albl  [I'bl],  Joseph,  firm  of  music-publs. 
estab.  at  Munich  in  1824;  the  subsequent 
heads  were  Eduard  Spitzweg  (from  1836), 
and  his  sons,  Eugen  and  Otto.  Since  1904 
in  Leipzig  under  the  firm-name  'Universal- 
Edition.' 

Afblinger  [I-],  Johann  Kaspar,  b.  Was- 
serburg,  Bavaria,  Feb.  23,  1779;  d.  Munich, 
May  6,  1867.  Studied  music  in  Munich,  then 
at  Bergamo  under  Simon  Mayr  (1802);  lived 
at  Vicenza  1803-11;  then  became  2d  m.  di 
c.  to  the  viceroy  at  Milan;  founded  the 
'Odeon'  (society  for  the  cultivation  of  clas- 
sical vocal  music)  at  Venice,  in  cooperation 
with  Abb6  Trentino;  was  engaged  (1819)  for 
the  Italian  opera  in  Munich  as  maestro  al 
cembalo,  in  1826  as  Kapellm.;  returned  in 
1833  to  Bergamo,  and  made  the  fine  collec- 
tion of  ancient  classical  music  now  in  the 
Staatsbibliothek  at  Munich.  He  was  the 
foremost  promoter  of  classical  vocal  per- 
formances in  All  Saints'  church,  Munich,  and 
wrote  many  celebrated  sacred  compositions 
(masses,  requiems,  liturgies,  psalms,  etc.). 
His  one  opera,  Rodrigo  e  Ximent  (Munich, 
1821),  and  3  ballets,  were  less  successful. 

Ai'chinger  [I-],  Gregor,  b.  Ratisbon, 
1564;  d.  Augsburg,  Jan.  21,  1628,  as  canon 
and  vicar-choral  of  the  cathedral.  Comp. 
much  sacred  vocal  music;  3  books  of  Sacrae 
cantiones  (Augsburg  and  Venice,  1590;  Ven- 
ice, 1595;  Nuremberg,  1597);  Tricinia,  Di- 
vinae  laudes  (1602),  etc.,  etc.;  his  Cantiones 
ecclesiasticae  (DilHn^en,  1607)  are  noteworthy 
as  one  of  the  earliest  works  in  which  the 
term  'basso  continuo'  appears. — See  Q.-Lex. 

Aig'ner  [fg-],  Engelbert,  dramatic  comp.; 
b.  Vienna,  Feb.  23,  1798;  d.  1851.  Pupil  of 
Stadler;  1835-7,  director  of  ballet  in  court 


theatre. — Works:  Opera,  Die  Wunderlilie 
(1827);  2  comic  operas,  Das  geheime  Fenster 
(1826)  and  Der  Angriffsplan  (1829);  cantata, 
Lob  der  Tonkunst;  a  mass;  a  quintet  in  G; 
6  choruses  for  men's  voices;  some  unpubl. 
masses;  and  a  requiem. 

A'imo.     See  Haym,  N.  F. 

Ajolla.    See  Layollb. 

Ak'eroyde,  Samuel,  Engl,  song-writer,  b. 
Yorkshire  after  1650.  Many  of  his  popular 
comps.  were  printed  in  collections  of  the 
period;  e.  g.,  in  D'Urfey's  3rd  coll.  of  Songs 
(1685),  'Theater  of  Musick'  (1685-6-71, 
'Banquet  of  Mustek'  (1688),  'Comes  Amoris' 
(1685-7),  'Thesaurus  musicus'  (1693-6),  etc. 

AkimenTco,  Theodore,  composer;  b. 
Kharkov,  Russia,  Feb.  8,  1876;  pupil  of 
Rimskv-Korsakov  (1886-90)  at  the  Petro- 
grad  Cons.,  and  of  Balakirev  (1886-95)  as 
chorister  in  the  Court  Choir,  in  which  he 
also  taught  for  some  years;  spent  3  years 
(1903-6)  in  France;  now  living  in  Moscow. — 
Works:  Lyric  poem  and  overture  for  orch.; 
string-trio  in  C  (op.  7);  'cello-sonata;  violin- 
sonata;  pieces  for  pf.  (Sonate  fantastiquet 
op.  44);  songs  and  choruses;  an  opera,  The 
Queen  of  the  Alps  (MS.). 

Alaleo'na,  Domenlco,  comp.  and  musicol- 
ogist; b.  Montegiorgio  (Piceno),  Nov.  16, 
1881.  Pupil,  in  the  'Liceo  musicale'  con- 
nected with  the  St.  Cecilia  Academy  in  Rome, 
of  Bustini  (pf.),  De  Sanctis  (comp.),  Renzi 
(theory).  At  graduation,  in  1906,  he  directed 
his  choral  work  for  soli,  ch.  and  orch.,  AUoU 
lite  Portas,  which  attracted  considerable 
attention.  1903-10  cond.  the  'Societa  Guido 
Monaco'  at  Leghorn;  since  1910  cond.  the 
'Augusteo,'  and  prof,  at  Cons,  in  Rome. — 
Works:  A  requiem,  Pro  defuncto  Rege;  a 
2 -act  opera,  Mirra;  Sinfonia  Italica;  songs 
with  pf.  and  orch.;  wrote  SuEmilio  de  Cava- 
lieri  (1905,  in  'Nuova  Musica'),  and  Studii 
sulla  storia  deW  Oratorio  (Turin,  1908);  also 
critical  and  hist,  essays  in  various  journals. 

Alard  [ah-iar'],  Jean-Delphia,  a  distin- 
guished violinist  of  the  modern  French 
school;  b.  Bayonne,  Mar.  8,  1815;  d.  Paris, 
Feb.  22,  1888.  A  pupil  of  Habeneck  at 
Paris  Cons.  (1827),  his  celebrity  dates  from 
1831;  he  succeeded  Baillot  as  prof,  in  1843, 
and  as  leader  of  the  royal  orchestra,  teaching 
in  the  Cons,  till  1875.  A  fine  instructor 
(Sarasate  was  his  pupil),  he  publ.  a  Violin 
School  of  high  merit,  a  selection  from  18th- 
century  classics  (Les  mattres  classiques  du 
violon),  and  numerous  brilliant  and  popular 
comps.  for  violin  (concertos,  Etudes,  fanta- 
sias, duets  for  pf.  and  vln.,  etc.).  His  play- 
ing was  full  of  fire  and  spirit,  and  his  inter- 
pretation of  classic  German  chamber-music 
was  exceptionally  fine. 


ALAYRAC— ALBERT 


Alayrac.    See  Dalayrac. 

Albanese  [-na'zfc],  ,  b.  Albano,  near 

Rome,  1729;  d.  Paris,  1800;  from  1752-62, 

Erincipal    singer  at  the    Parisian  'Concerts 
pirituels.'     Comp.   songs    {romances)    very 
popular  in  their  day. 

Albane'sl,  Lulgl,  b.  Rome,  Mar.  3,  1821; 
d.  Naples,  Dec.  4,  1897.  Pupil  of  Polidori 
and  Lavigna;  was  a  highly  esteemed  pianist 
and  teacher;  wrote  pf.-pieces,  many  motets, 
masses,  and  the  oratorio,  Le  sette  parole  di 
Cesa  Cristo. 

Albani  [-bah'-]  is  the  stage-name  of 
Marie  Louise  Cecilia  Emma  Lajeimesse, 

a  gifted  dramatic  soprano,  b.  Chambly,  near 
Montreal  (Canada),  Nov.  1,  1852;  trained  in 
the  Convent  of  the  Sacred  Heart  at  Mon- 
treal; removed  to  Albany,  N.  Y.,  in  1864. 
where  her  singing  in  the  cathedral  attracted 
such  general  attention,  that  her  father  was 
persuaded  to  take  her  to  Europe  for  study; 
pupil  of  Duprez  at  Paris  for  8  months,  and 
of  Lamperti  at  Milan  for  a  longer  period 
(the  latter' s  treatise  on  the  Trill  is  dedicated 
to  her);  made  her  debut  at  Messina  in  1870 
(Sonnambtda),  under  the  name  of  Albani. 
After  singing  in  Florence,  London  (1872), 
and  Paris,  she  again  studied  with  Lamperti 
for  several  months;  sang  at  Covent  Garden 
in  1873,  and  also  at  Petrograd;  returning  to 
America,  she  revisited  Albany,  and  sang  in 
the  cathedral;  in  1874  sang  again  at  Covent 
Garden,  where  she  was  permanently  engaged 
until  1896,  the  year  of  her  grand  triumph  as 
Isolde  (in  German),  Jean  de  Reszk6  singing 
the  part  of  Tristan;  retired  from  active  work 
in  1906.  Married  the  lessee  of  the  theatre, 
Mr.  Ernest  Gye,  in  1878.  Her  principal 
rdles  are  Amina  (Sonnambtda),  Marguerite 
(Faust),  Mignon,  Ophelia,  Elsa,  Senta,  Elisa- 
beth, Lucia,  Desdemona  (Otello) ;  she  is  also 
an  oratorio-singer  of  the  first  rank,  and  a  fine 
pianist.  She  has  sung  in  opera  on  the  conti- 
nent (Berlin,  1887)  with  great  success.  She 
publ.  her  memoirs  under  the  title  Emma 
Albani,  Forty  Years  of  Song  (London,  1911). 

Alba'nl,  Mathias  (father  and  son),  vio- 
lin-makers of  Bozen  (Tyrol).  A.  the  elder, 
b.  Bozen,  1621;  d.  there,  1673,  was  one  of 
Stainer's  aptest  pupils;  A.  the  younger 
learned  the  trade  of  his  father,  and  worked 
with  the  Amatis  at  Cremona,  settling  finally 
in  Rome.  His  instruments,  from  1702-9,  are 
considered  almost  equal  to  the  genuine 
Amatis;  whereas  his  father's  violins,  though 
powerful  in  tone,  are  less  remarkable  in 
quality. 

Albeniz,  Isaac,  brilliant  pianist  and 
composer;  b.  Camprodon  (Spain),  May 
29,  1861;  d.  Cambo  au  Bains  (Pyrenees), 
May  19,  1909.    As  a  child  his  progress  on 


the  piano  was  so  astonishing,  that  at  the  uge 
of  six  Marmontel  accepted  him  as  a  pupil. 
After  extensive  concert  tours  through  Europe 
and  America  {as  a  child-prodigy)  he  entered 
the  Brussels  Cons,  for  further  serious  study 
under  Brassin  (pf.),  and  Dupont  and  Gevaert 
(comp.);  subsequently  studied  also  with 
Jadassohn,  Reinecke  and  Liszt.  The  greater 
part  of  his  life  was  spent  on  tours  as  a  con- 
cert pianist.  He  was  court  pianist  to  the 
Queen  of  Spain.  In  his  later  works  he  shows 
himself  strongly  influenced  by  French  im- 
pressionism, especially  in  his  suites  Iberia 
and  Catalonia. — Works:  The  operas  The 
Magic  Opal  (London,  1893);  Enrico  Clifford 
(Barcelona,  1895);  San  Antonio  de  la  Florida 
(Madrid,  1895);  Pepita  Jimenez  (Barcelona, 
1896);  the  trilogy  King  Arthur  {Merlin, 
Lancelot,  Ginevra]  (1897-1906);  V&emitage 
fieurie  (1905):  an  oratorio,  Crista;  Concerto 
fantdstico;  and  over  200  comps.  for  pf. 

Albeniz  f-neth'],  Pedro,  b.  Loerofio  (Old 
Castile,  Spain),  April  14,  1795;  d.  Madrid, 
Apr.  12,  1855.  In  early  youth,  organist  in 
various  Spanish  towns;  later,  a  pupil  of 
Kalkbrenner  and  Henri  Herz  in  Paris;  app. 
(1830)  pf.-prof.  at  Madrid  Cons.,  and  (1834) 
court  organist.  An  early  and  powerful  pro- 
moter of  modern  methods  of  piano-playing 
in  Spain,  a  composer  of  some  70  piano-pieces 
(rondos,  variations,  fantasias,  Etudes,  etc.). 
also  songs;  author  of  a  pf.  Method  adopted 
by  the  Madrid  Cons.  (1840). 

Alberga'ti,  Plrro  CapacelH,  Conte  d', 
comp.;  b.  Carrati,  Sept.  20,  1663;  d.  Bologna, 
June  22,  1735.  Comp.  oratorios  (//  Convito 
di  Baldassaro,  VInnocenza  di  S.  Eufemia, 
S.  Catterina,  S.  Eustachio) ;  Cantate  spiritual* 
a  2-3  v.,  with  instrs.;  Cantate  tnorali  a 
voce  sola;  Mottetti  ed  Antifone  delta  B.  V.  a 
voce  sola;  Messa  e  Salmi  concertati;  Messa 
Litanie  d.  B.  V.  a  voce  sola;  Hfnno  ed  Anti- 
fone d.  B.  V.;  Corona  di  pregi  di  Maria  (can- 
tate a  v.  sola),  etc.  Instrumental  pieces: 
Pletro  armonico  C10  sonate  da  cam.);  BaUetti, 
Correnti,  Sarabande  e  Gighe  for  vln.,  2nd  vln. 
ad  lib.,  and  violone;  etc. — See  Q.-Lex. 

Albert,  Prince  of  Saxe-Coburg-Gotha, 
Prince  Consort  of  Queen  Victoria;  b.  Schloss 
Rosenau,  Aug.  26,  1819;  married  Feb.  10, 
1840;  d.  Dec.  14,  1861.  A  zealous  promoter 
and  patron  of  art,  he  himself  comp.  an  opera. 
Hedwig  von  Linden  (London,  1840),  and 
numerous  vocal  works,  of  which  were  publ. 
Vinvocauone  alV  Armonia,  f.  solos  and 
chorus;  morning  service  in  C  and  A;  anthem 
Out  of  the  deep;  29  Lieder  und  Romanzen,  in 
5  collections;  3  canzonets;  etc. 

Albert,  Heinrich,  b.  Lobenstein  (Saxony), 
July  8,  1604;  d.  Konigsberg,  Oct.  6,  1651. 
In  1622  he  went  to  Dresden  to  study  music 
under  his  uncle,  Heinrich  Schiitz,  but  his 


10 


D'ALBERT— ALBERTI 


parents  soon  decided  that  he  should  study 
law,  and  sent  him  to  Leipzig.  Going  to 
Ktinigsberg  (1626),  he  was  attached  to  an 
embassy  to  Warsaw  and  taken  prisoner  by 
the  Swedes;  returning  to  K.,  lie  became 
organist  of  the  Cathedral  (1630),  and  re- 
sumed musk  study  under  Stobaus.  He  was 
a  gifted  composer,  and  a  fine  poet  (of  the 
'Konigsberg  school')*  writing  the  words  for 
the  majority  of  the  songs  he  set  to  music. 
He  published  8  famous  books  of  arias  [Arien] 
(1638-50),  and  the  KurbshiiUc,  a  cantata 
consisting  of  12  terzets  (1645);  collections  of 
chorales,  arias  and  lieder,  for  one  or  several 
voices;  many  of  his  hymn-tunes  ar*-«till  sung 
in  Prussia.  A  selection  of  his  songs,  with 
the  music,  has  been  issued  in  the  'Neudrucke 
deutscher  Littcraturwerke'  (Eitncr:  Halle, 
1883-4);  the  arias  in  vols,  xii  and  xiii  in 
'Dkm.    deutscher   Tonkunst.' — See    Q.-Lex. 

d'Albert  [da  hi -bar'],  Eugene  (Francis 
Charles),  [writes  his  name  in  German  style, 
Eugen,]  pianist;  b.  Glasgow,  Apr.  10,  1864. 
His  father,  Charles  L.  N.  d'A.  (b.  Nien- 
stetten,  near  Hamburg,  Feb.  25,  1809;  d. 
London,  May  26,  1866),  was  a  musician  and 
dancing-master,  and  composed  many  popular 
dances;  he  was  his  son's  first  teacher. — 
Eugene  was  elected  Newcastle  scholar  in  the 
National  Training  School,  London,  in  1876, 
and  was  taught  by  Pauer  (pf.),  and  Stainer, 
Prout  and  Sullivan  (harm,  and  comp.);  in 
1881,  he  was  elected  Mendelssohn  scholar, 
and  studied  under  Richter  (Vienna)  and 
Liszt  (Weimar);  the  latter  dubbed  him  'the 
young  Tausig'  on  account  of  his  remarkable 
technique.  On  Feb.  5,  1881,  he  played  the 
Schumann  concerto  at  the  Crystal  Palace, 
London,  and,  on  Oct.  24,  a  concerto  in  A, 
of  his  own,  at  a  Richter  Concert.  Since  that 
time  he  has  arrived  at  full  pianist ic  maturity, 
one  of  his  feats  being  the  performance  of  5 
Beethoven  sonatas  (op.  31,  53,  90,  109,  110) 
at  a  Gewandhaus  recital  on  Nov.  20,  1893, 
thus  vying  with  Bulow's  famous  programs. 
Ever  since  his  first  appearance  he  nas  occu- 
pied a  conspicuous  place  among  the  greatest 
of  contemporary  pianists.  As  a  composer  he 
has  publ.  2  pf. -concertos,  in  B  m.  and  E;  2 
overtures  (Hyperion  and  Esther) ;  a  symphony 
in  F;  a  pf. -suite  in  5  movements;  a  pf. -sonata 
in  F#  m.;  2  string-quartets  (A  m.,  Eb);  minor 
pf. -pieces,  and  several  songs;  op.  14,  Der 
Mensch  u.  das  Leben  (by  O.  Ludwig),  for 
6-p.  ch.  and  orch.;  op.  16,  4  pf. -pieces  {Waltz, 
Scherzo,  Intermezzo,  Ballade).  He  wrote 
the  operas  Der  Rubin  [The  Ruby]  (Karls- 
ruhe, Oct.  12,  1893),  which  had  a  favorable 
reception;  text  and  music  of  the  3-act  opera 
Ghismonda  (Dresden,  1895,  mod.  success); 
opera  Gemot  (Mannheim,  1897;  succ);  1-act 
mus.  comedy  Die  Abreise  (Frankfort,  1898; 


succ.) ;  Kain  (Berlin,  1900) ;  Der  Improvisator 
(Berlin,  1900);  Tiefland  (Prague,  1903;  v. 
succ);  Flauto  solo  (Prague,  1905);  TragaU 
dabas  (Der  geborgte  Ehemann;  comedy-opera 
in  4  acts;  Hamburg,  1907;  succ);  Izeyl 
(Hamburg,  1909);  Die  verschenkte  Frau 
(Vienna,  1912);  Liebesketten  (Vienna,  1912); 
Tote  Augen  (Dresden,  1916).  He  has  also 
made  piano  transcriptions  of  several  of 
Bach's  organ  works,  edited  the  Well-Tem- 
pered Clavichord,  and  is  one  of  the  editors  of 
the  monumental  Liszt  edition  brought  out  by 
Brettkopf  &  Hartel.— D'Albert  married  the 
celebrated  pianist  Teresa  Carreno  in  1892 
(divorced  1895).  From  1895-1910  he  was 
married  to  the  singer  H ermine  Finck;  from 
1910-12  to  Ida  Theumann.  His  winter  resi- 
dence is  Vienna,  his  summer  home  is  in 
Meina,  Italy.  1895,  app.  1st  Kapellra.  at 
Weimar,  as  Dr.  Lassen's  successor;  but  re- 
signed speedily,  being  himself  succeeded  by 
Bernhardt  Stavenhagen. 

Albertazzi  [-taht'sg],  Emma,  nie  Howson, 
stage-contralto;  b.  London,  May  1,  1814;  d. 
there  Sept.  25,  1847.  Pupil  of  Sir  M.  Costa; 
debut  1829,  Argyle  Rooms,  London.  En- 
gaged at  King's  Th.,  1830$  at  Piacenza, 
Italy,  in  1831,  where  she  married  Sgr.  Al- 
bertazzi. Sang  in  La  Scala  (1831),  Madrid 
(1833),  and  Paris  (Ital.  Op.,  1835),  her  most 
brilliant  period.  Reappeared  in  London, 
1837.  She  had  a  fine  voice,  but  no  passion  or 
animation  in  singing  or  acting. 

Alber'ti,  Domenico,  b.  Venice,  circa  1717; 
d.  Formio  (or  Rome),  circa  1740,  is  still 
known  to  fame  as  the  firs*  to  develop  and 
extensively  employ  the  style  of  broken-chord 
bass-accomp.,  in  similar  figures,  named 
'Alberti'  or  'Albertinian'  bass  after  him. 
He  first  attracted  notice  »  an  amateur 
singer,  developing  into  a  pianist  and  com- 
poser of  easy  popular  piano-music,  also  3 
operas,  Endimione,  Galatea,  Olimpiade.  In 
1737  he  was  attached  to  the  suite  of  the 
Venetian  ambassador  at  Rome,  and  was  a 
much-admired  singer  and  player. 

Alber'ti,  Giuseppe  Matteo,  b.  Bologna, 
1685;  d.  after  1746.  Violinist  and  comp.  of 
great  merit;  pupil  of  Manzolini  and  Minelli 
(vln.)  and  F.  Arresti  (cpt.);  'principe'  of  the 
B.  Philh.  Academy. — Publ.  works:  10  Con- 
certs (sextets);  12  vln. -sonatas  with  b.  cont.; 
12  Sinfonie  for  2  vlns.,  via.,  'cello  and  org. 

Alber'ti,  Johann  Friedrich,  b.  Tdnning, 
Schleswig,  Jan.  11,  1642;  d.  Merseburg,  June 
14,  1710.  Pupil  of  Werner  Fabricius,  Leip- 
zig, and  Albrici,  Dresden;  org.  at  Merseburg 
cathedral  till  1698.  A  learned  contrapuntist, 
whose  chorales,  fugues,  etc.,  were  held  in 
estimation. 


11 


ALBERTINI— ALCARROTTI 


Alberti'ni,  Gioacchino,  b.  1751;  d.  War- 
saw, in  April,  1812.  About  1784,  Royal 
Polish  Kapellm.  His  Italian  operas,  Circe  ed 
Ulisse  (Hamburg,  1785)  and  Virginia  (Rome, 
1786),  were  extremely  popular. 

Alberti'nl,  Michael  (called  Momoletto), 

famous  soprano  singer  (musico)  at  Kassel  early 
in  the  18th  century.  His  sister  Giovanna, 
(called  Romanina)  was  prima  donna  there. 

Albino'ni,  Tommaso,  opera-composer 
and  violinist;  b.  Venice,  1674;  d.  there  1745; 
wrote  some  46  operas,  chiefly  for  Venice;  in 
Germany  he  was  best  known  as  a  violinist 
and  instrumental  composer  (symphonies, 
sonatas,  concertos,  etc.,  among  them  some 
valuable  works).  He  was  also  an  admired 
singer.  --See  Q.-Lex. 

Albo'ni,  Marietta,  celebrated  contralto, 
b.  Ceseria  (Romagna),  Mar.  10,  1823;  d. 
Ville  d'Avray,  France,  June  23,  1894.  Studied 
under  Mme.  Bertolotti  at  Bologna  (where  she 
began  her  stage  career  in  1839),  and  later 
with  Rossini,  whose  sole  pupil  she  is  said  to 
have  been.  Her  debut  as  Orsini  in  Doni- 
zetti's Lucrezia  Borgia,  at  La  Scala  (Milan, 
1843),  was  a  brilliant  success;  with  her  im- 
presario, Merelli,  she  made  an  Italian  tour, 
then  proceeding  to  Vienna.  She^  visited 
Petrograd,  returned  to  Germany  in  1845. 
sang  at  the  Roman  carnival  in  1847,  ana 
appeared  at  Covent  Garden  in  London  the 
same  spring,  entering  into  not  unsuccessful 
rivalry  with  Jenny  Lind,  then  at  the  zenith 
of  her  fame.  Engaged  the  following  October 
in  the  Italian  Opera  at  Paris,  she  was  received 
with  unbounded  enthusiasm,  and  sang  for 
several  years  alternately  in  these  capitals. 
In  1853  she  made  a  triumphal  progress 
through  the  two  Americas;  married  Count 
Pepoh  in  1854,  and  at  his  death  (1866) 
retired  from  the  stage.  In  1877  she  married 
a  French  officer,  Ziegcr.  Her  voice  was  rich, 
sweet  and  powerful,  with  a  compass  of  2 
octaves  (g — g*)  and  perfectly  equalized.  Cf. 
A.  Pougin,  M.  A.  (2nd  ed.  Paris,  1912). 

ATbrecht,  Eugen  Maria,  a  fine  violinist 
and  musician;  b.  Petrograd,  June  16,  1842; 
d.  there  Feb.  9f  1894.  1857-60,  a  pupil  of 
David  at  Leipzig  Cons.;  1860-77,  leader  of 
the  orchestra  at  the  Italian  opera,  Petrograd, 
and  (1867-72)  musical  director  of  military 
schools;  1872,  app.  inspector  of  the  Imperial 
orchestras;  1892,  librarian  of  the  Imperial 
Theatres.  Also  the  founder  (1872)  of  the 
Chamber-music  Society,  and  violin-master 
to  several  of  the  Imp.  princes. — His  father, 
Karl  A.,  b,  Posen,  Aug.  27,  1807;  d.  Gat- 
china,  Feb.  24,  1863,  was  Kapellm.  for  12 
years  of  the  Imp.  Russian  Opera,  where,  in 
1842,  he  conducted  the  world's  premiere  of 
Glinka's  Russian  and  Ludmilla. 


ATbrecht,  Johann  Lorenz,  b.  Gormar 
near  Miihlhausen  (Thuringia),  Jan.  8,  1732; 
d.  Miihlhausen,  1773.  He  studied  at  Leip- 
zig, and  in  1758  became  cantor,  music- 
director  and  teacher  in  the  Gymnasium  at 
M.  Edited  Adlung's  Musica  mechanica  and 
Siebengestirn  (Berlin,  1768),  wrote  an  Ab- 
handlung  uber  die  Frage:  oh  die  Musih  beim 
GoUesdienst  zu  dulden  set  oder  nicht  (1764); 
Grundliche  Einleitung  in  die  Anfangslehren 
der  Tonkunst  (1761);  and  a  treatise  Vom 
Hasse  der  Musih  (1765);  contributed  articles 
to  Marpurg's  'Kritische  Beitrage,1  etc.  Com- 
posed a  Passion,  some  cantatas  and  harpsi- 
chord-lessons. 

ATbrechtsberger,  Johann  Georg,  famous 
theoretical  writer,  composer,  and  teacher;  b. 
Klosterneuburg,  near  Vienna,  Feb.  3,  1736; 
d.  Vienna,  Mar.  7,  1809.  After  holding  posi- 
tions as  organist  and  music-mister  in  smaller 
towns  (especially  12  years  in  Molk,  where  his 
finep  playing  attracted  the  Emperor  Joseph's 
notice),  in  1772  he  was  engaged  in  Vienna  as 
'Regens  chori*  to  the  Carmelites;  app.  court 
organist  in  the  same  year,  and,  in  1792, 
Kapellm.  at  St.  Stephen's  cathedral.  His 
important  theoretical  writings  (complete  ed. 
publ.  by  I.  v.  Seyfried)  are:  Griindliche  An- 
weisung  zur  Composition  (1790  and  1818; 
French  ed.,  1814).;  Kurzgefasste  Methode,  den 
Generalbass  zu  erlernen  (1792;  also  in  French); 
Clavier schule  fiir  A  nf anger  (1808);  and  some 
lesser  essays.  Of  his  244  compositions,  only 
27  have  been  printed  (pf. -fugues;  pf.-quartet; 
a  Concerto  leger  for  pf.,  2  vlns.,  and  bass; 
organ-preludes;  and  quartets,  quintets,  sex- 
tets and  octets  for  strings);  tha  MS.  scores 
(in  the  possession  of  Prince  Esterhazy- 
Galantha)  comprise  26  masses,  43  gradual*, 
34  offertories,  6  oratorios;  28  trios,  42  quar- 
tets, and  38  quintets,  for  strings;  besides  a 
great  variety  of  church  music.  A  selection 
from  his  instrumental  works  was  publ.  in 
'Dkm.  der  Tonkunst  in  Osterreich,'  vol.  xvi. 
2.  He  was  Beethoven's  teacher  in  cpt.,  and 
expressed  but  a  poor  opinion  of  his  pupil's 
talents. — See  Q.-Lex. 

Albrici  [-bre-tche),  Vincenzo,  b.  Rome, 
June  26,  1631;  d.  Prague,  Aug.  8,  1696. 
About  1650,  Kapellm.  to  Queen  Christina, 
at  Stralsund,  Sweden;  1654,  do.  to  the 
Elector,  at  Dresden;  1680,  organist  of  the 
Thomasl-irche,  Leipzig;  afterwards,  church- 
music  director  at  Prague.  His  works  (MS.) 
were  destroyed  in  the  Dresden  library  during 
the  bombardment  of  1760;  only  a  few  were 
saved,  but  never  publ. 

Alcarrot'ti,  Giovanni  Francesco,  Italian 
comp.;  b.  Novarra,  c.  1536;  organist  at  Como. 
— Publ.  works:  2  books  of  5-  and  6-part 
Madrigals  (1567,  1569);  1  book  5-part  La- 
mentations (1570). 


12 


ALCOCK— ALESSANDRI 


ATcock,  John,  b.  London,  Apr.  11,  1715; 
d.  Lichfield,  Feb.  23,  1806.  At  14,  a  pupil  of 
Stanley,  the  blind  organist;  in  1735,  organist 
of  two  London  churches;  in  1737,  at  Ply- 
mouth, and  1740,  at  Reading.  In  1748  he 
was  app.  organist,  master  of  the  choristers, 
and  lay-vicar  of  Lichfield  cathedral;  in  1761, 
he  took  the  degree  of  Mus.  Doc.  (Oxford). 
His  publ.  comps.  comprise  harpsichord- 
lessons,  concertos,  collections  of  psalms, 
hymns,  and  anthems;  church-services;  glees 
and  catches. — His  son,  John  (1740-91),  was 
also  an  organist,  and  publ.  several  anthems 
(1773-6). 

Alda,  Frances  (stage-name  of  Frances 
Davis),  lyric  soprano;  b.  Christchurch,  New 
Zealand,  May  31,  1883.  Pupil  of  Marchesi 
at  Paris;  debut  at  Opera-Comique,  1904,  as 
Manon;  subsequently  sang  at  Brussels,  Lon- 
don, Milan,  Warsaw,  Buenos  Aires;  since 
1908  member  M.  O.  H.;  has  made  four 
recital  tours  through  U.  S.  Created  chief 
sop.  roles  in  Princesse  Rayon  de  Soldi  (Gil- 
son),  Madame  Chrysanthemc  (Messager), 
Louise  (Charpentier),  Le  Villi  (Puccini), 
Cyrano  de  Bergerac  (Damrosch),  Madeleine 
(V.  Herbert),  and  Prince  Igor  (Borodin). 
Principal  r61cs:  Mimi,  Manon,  Desdemona, 
Marguerite  (Faust),  Juliette,  Gilda,  Travi- 
ata,  Aida,  Manon  Lescaut  (Puccini),  Mar- 
gherita  (Mefistofele).  Apr.  3,  1910,  married 
Giulio  Gatti-Casazza,  director  M.  O.  H. 

Alden,  John  Carver,  b.  Boston,  Mass., 
Sept.  11,  1852;  pupil,  in  Boston,  of  Carl 
Faelten;  in  Leipzig,,  of  Paul,  Plaidy,  and 
Papperitz.  For  some  years  associate-teacher 
(with  Faelten)  at  the  N.  E.  Cons.;  after  that, 
nead  of  the  piano  dept.  at  the  Quincy  Man- 
sion School,  a  Wollaston,  Mass. — Works:  A 
pf. -concerto  in  G  m.,  and  other  pf. -music; 
songs  (Du  bist  wie  eine  Blutne);  anthems, 
etc. — A.  is  known  as  a  very  successful  pf.- 
teacher. 

Aldrich,  Henry,  b.  Westminster,  1647;  d. 
Oxford,  Dec.  14,  1710;  a  man  of  versatile  at- 
tainments, being,  besides  a  good  musician,  a 
theologian,  historian,  and  architect.  He  was 
educated  in  Christ  Church  (Oxford),  of  which 
he  became  the  Dean  in  1689;  thus  he  had 
great  influence  on  musical  instruction  and 
practice  in  the  college.  He  wrote  learned 
works:  On  the  Commencement  of  Greek  Music, 
Theory  of  Organ-building,  Theory  of  Modern 
Instrs.,  etc.;  composed  many  services  and 
anthems,  some  of  which  are  still  sung;  also 
wrote  catches,  and  the  like.  The  collections 
of  Boyce,  Arnold  and  Page  contain  numerous 
compositions  of  his.  —See  Q.-Lex. 

Aldrich,  Mariska,  dramatic  soprano;  b. 
Boston,  Feb.  7,  1881.  Pupil  of  Alfred 
Giraudet  (1906-9)  and  Georg  Henschel. 
Debut  Manhattan  Op.  H.,  N.  Y.f  1908,  as 


Page  in  Les  Huguenots;  1909-13,  sang  in 
M.  O.  H.  Voice  changedfrom  contralto  to 
dramatic  soprano  while  in  Europe.  Sang 
part  of  Brunnhilde  in  Bayreuth,  1914. 
Married  Hon.  J.  Frank  Aldrich,  Apr.  18, 1901. 

Aldrich,  Perley  Dunn,  b.  Blackstone; 
Mass.,  Nov.  6,  1863.  Studied  at  New  Engl. 
Cons.,  and  from  1883-6  with  S.  A.  Emery, 
L.  Maas  and  G.  Whiting;  studied  singing 
with  W.  Shakespeare  in  London,  1892-5;  then 
with  Trabadello  in  Paris;  sp.  course  on  voice- 
culture  with  Sbriglia  in  Paris,  1903-4,  acting 
at  the  same  time  as  his  asst.;  prof,  of  mus., 
Univ.  of  Kansas,  1885-7;  at  Utica  Cons., 
1889-91;  in  Rochester,  1891-1903;  then  in 
Philadelphia  until  1911;  since  1911  in  New 
York  as  vocal  teacher.  He  has  written  La 
Belle  Dame,  for  men's  voices;  a  cantata,  The 
Sleeping  Wood- Nymph;  Book  of  Songs,  and 
other  songs;  several  anthems.  Author  of 
Vocal  Economy  (1895). 

Aldrich,  Richard,  b.  Providence,  July  31, 
1863.  Graduate  Harvard  Univ.,  1885;  pupil 
of  J.  K.  Paine.  Critic  'Providence  Journal' 
(\ 885-9);  priv.  sec.  of  U.  S.  Senator  Dixon 
(1889-91)  and  at  the  same  time  critic  Wash- 
ington 'Evening  Star';  from  1891-1902  with 
the  N.  Y.  'Tribune'  in  various  editorial  posi- 
tions and  as  assistant  to  H.  E.  Krehbiel; 
mus.  editor  of  N.  Y.  'Times'  since  1902. 
Member  of  Nat.  Inst,  of  Arts  and  Letters. 
Translated  Lilli  Lehmann's  'How  to  Sing' 
(1902,  2nd  ed.,  1914);  wrote  Guide  to  Parsifal 
(1904);  Guide  to  the  Ring  of  the  Nibelung 
(1905) ;  numerous  articles  in  various  journals. 

Aldrovandi'ni,  Giuseppe  (Antonio  Vin- 
cenzo),  b.  Bologna,  circa  1673;  d.  Feb.  8, 
1707.  Cpt.  pupil  of  J.  A.  Perti;  1695,  a 
member,  and  1702,  'principe,'  of  Bologna 
Philh.  Academy.  ^  Wrote  15  operas;  also 
much  church-music  (6  oratorios;  concertos, 
motets,  sinfonie,  etc.),  some  of  which  was 
publ. — See  Q.-Lex. 

d'Alerabert  [d&h-lahn-bar'],  Jean  le 
Rond,  mathematician  and  writer;  b.  Paris, 
Nov.  16,  1717;  d.  there  Oct.  29,  1783.  His 
works  on  musical  science  were  Elements  de  mu- 
sique  theorique  et  pratique,  suivant  les  principes 
de  M.  Rameau,  a  treatise  giving  R.'s  theories 
in  luminous  detail  (1752);  Recherches  sur  la 
courbe,  que  forme  une  corde  Undue  mise  en 
vibration,  R.'s  sur  les  cordes  sonores,  R.'s  sur 
la  vitesse  du  son;  Histoire  de  la  musique  fran- 
chise; most,  of  which  were  also  publ.  in 
German.  He  contributed  many  articles  on 
musical  subjects  to  the  great  Dictionnaire 
encyclopedique,'  edited  by  himself  and 
Diderot  (Paris,  1751-72,  in  28  vols.). 

Alessan'dri,  Felice,  dramatic  composer 
and  conductor,  b.  Rome,  Nov.  24,  1747;  d. 
Casalbino,  Aug.  15,  1798.    Studied  music  at 


13 


ALEXANDRE— ALKAN 


Naples;  m.  di  cap  p.  at  Turin;  then  lived  4 
years  in  Paris,  and  after  revisiting  Italy 
went  to  London  (1768),  producing  the  comic 
operas  La  mogHe  fedele  and  //  Re  alia  caccia, 
and  appearing  as  a  pianist.  Later  in  Italy, 
Russia,  and  (1789)  Berlin,  where  he  was  2d 
Kapellm.  of  the  R.  Opera  (1790-2),  and 
brought  out  2  operas,  //  Ritorno  d' Ulysse 
(1790)  and  Dario  (1791),  and  in  1792  the 
comic  opera  VOuverture  du  grand  opera  italien 
d  Nankin,  at  Potsdam;  after  which  nothing 
more  is  known  of  him. — Works:  32  operas 
(prod.  1764-94);  a  ballet,  an  oratorio,  6 
sinfonie  a  8  (op.  6),  6  Trio-Sonatas  for  2 
vlns.  with  b.  cont.;  none  of  lasting  value. 
(See  Valdrighi,  F.  Alessandri,  1896. — Also 
Q.-Lex.) 

Alexandre,  Jacob,  b.  1804;  d.  Paris,  June 
11,  1876;  founder  (1829)  of  the  celebrated 
firm  of  harmonium- makers,  by  whom  the 
'Alexandre'  organ  (an  improvement  of  the 
so-called  'American  organ)  was  introduced 
in  1874. 

Alfa'no,  Franco,  b.  Naples,  1876.  Pupil 
of  Jadassohn  at  the  Leipzig  Cons.;  composer 
of  the  operas  Die  Quelle  von  Enschir  [La 
Fonte  oVEnscir\  (Breslau,  1898),  Risurrewione 
(Turin,  1904),  II  Principe  Zilah  (Genoa, 
1909);  a  symph.  in  E  m.;  Suite  Romantica; 
wrote  also  meritorious  pieces  for  pf. 

Alfara'bl,  or  Alphara'bius,  properly  £1 
Farabi  (abbr.  Farabi),  so  named  from  his 
birthplace  Farab  (now  transoxine  Othrax). 
Famous  Arabian  mus.  theorist;  b.  900  (?);  d. 
Damascus,  950.  His  works  contain  descrip- 
tions of  the  different  Arabian  mus.  instrs.,  of 
the  mus.  scales,  and  of  the  different  systems 
of  music.  He  vainly  attempted  to  introduce 
the  Greek  system  into  his  own  country. 

Alferalty,  Achilles    Nikolalevltch,    b. 

Kharkov,  June  21,  1846,  has  written  merito- 
rious piano  works  and  songs.  Especially  fine 
is  the  Serenade  Levantine  from  op.  25.  His 
songs,  which  number  over  100,  frequently 
show  the  influence  of  Ukrainean  folk-melodies. 
Alfie'ri,  Abbate  Pietro,  Camadulian  monk, 
prof,  of  singing  at  the  English  College,  Rome; 
b.  Rome,  June  29,  1801;  d.  there  June  12, 
1863.  His  fine  collection  of  16th-century 
church-music,  Raccolta  di  Musica  Sacra 
(1841-6),  in  7  vols.,  is  very  valuable,  being 
the  first  edition  of  the  collected  works  of 
Palestrina,  and  is  supplemented  by  later  and 
less  extensive  ones:  Excerpta  ex  celebrioribus 
de  musica  viris  [Praenestino,  Vittoria,  Allcgri] 
(Rome,  1840);  Raccolta  di  MotteUi  [Pale- 
strina, Vittoria,  Avia,  AnerioJ  (Rome,  1841), 
etc.;  his  essays  on  plain  song:  Accontpagna- 
mento  coW  Organo  (1840);  Ristabilmento  del 
Canto  e  d.  Mus.  eccl.  (1843);  Saggio  storico 
,    .    .    d.  Canto  Gregoriano  (1855);  Prodromo 


14 


sulla  restaur,  de'  libri  di  Canto  detto  Greg. 
(1857);  and  many  other  articles  in  mus. 
periodicals  on  eccl.  music,  are  of  noteworthy 
historical  interest;  as  also  his  biogr.  sketches 
of  N.  Jommelli  (1845),  B.  Bittoni,  and  others. 

AlfVen,  Hugo,  b.  Stockholm,  May  1, 
1872.  Pupil  at  the  Cons,  there  of  Lindegren 
in  theory,  and  member  of  the  court  orch. 
Aided  by  the  government  stipend  for  young 
composers  he  studied  the  violin  with  Cesar 
.  Thomson  at  Brussels  (1896-9),  lived  for  a 
time  in  Paris,  and  travelled  in  Germany.  In 
1900  he  won  the  Jenny  Lind  stipend,  which 
he  held  for  three  years.  Since  1910  he  has 
been  musical  director  at  the  University  of 
Upsala,  where  he  conducts  an  excellent 
students'  chorus,  *Orpheidrangar.' — Works: 
3  symphs.  (F  m.,  D,  E);  2  symph.  poems,  En 
skdrgdrdssdgen  and  Drapa;  a  Swedish  rhap- 
sody, Midsotnmarvaka;  2  choral  works  with 
orch.,  Sten  Sture  and  The  Lord's  Prayer; 
lyric  scene  with  orch.,  The  Bells;  a  cantata 
for  the  Linne  bi-centennial  (1907);  Triumphal 
March;  a  vl.  sonata;  a  romance  for  vl.; 
pf. -pieces;  songs. 

Algarot/ti,  Francesco,  b.  Venice,  Dec. 
11,  1712;  d.  Pisa,  March  3,  1764;  a  man  of 
versatile  ability  and  wide  knowledge,  a 
favorite  of  Frederick  the  Great,  who  induced 
him  to  come  to  Berlin  in  1746,  and  gave  him 
the  title  of  Count.  His  musical  monument 
is  the  Saggio  sopra  V opera  in  musica,  publ. 
1755,  and  in  many  later  editions,  and  transl. 
into  German  and  French. 

Aliabiev  [ahl-yahVyevl,  Alexander,  well- 
known  Russian  song-composer;  b.  Moscow, 
Aug.  16,  1787;  d.  there.  Mar.  6,  1851.  Publ. 
Ill  songs  and  romances,  the  Nightingale 
(Salavei)  being  a  special  favorite.  In  col- 
laboration (more  or  less)  with  Verstovsky, 
Wielhorski  and  Maurer  he  set  to  music  the 
ballad-operas  of  Chmelnitsky  {The  Village 
Philosopher,  and  others);  and  several  operas 
{The  Moonlight  Night,  or  The  Brownies;  The 
Prisoner  of  the  Caucasus  [very  popular  at 
the  time]). 

Aliprandi,  Bernardo,  b.  early  in  the  18th 
century  at  Milan;  d.  after  1 780.  Violoncellist 
in  the  court  orch.  at  Munich  (1732);  concert- 
master  in  1750;  pensioned  1780.  He  wrote 
the  operas  Apollo  tra  le  Muse  in  Parnasso 
(1737);  MUridate  (1738);  Ifigenia  (1739); 
Semiramide  (1740);  also  a  Stabat  Mater  for 
soprano,  alto  and  orchestra  (1749). 

Alkan  [-kahn'],("£fe  Morhange), Charles- 
Henri- Valentin  (Alkan  Vatne),  b.  Paris 
Nov.  30,  1813;  d.  there  March  29,  1888;  a 
pupil  of  Zimmerman  in  the  Paris  Cons.,  to 
which  he  was  admitted  when  but  6  years  of 
age;  took  the  first  piano-prize  at  10,  and 
after  1831  occupied  himself  with  composition 


.«» 


ALKAN— D'ALQUEN 


and  teaching,  with  occasional  appearances  in 
public  as  pianist.  His  publ.  works  reach 
op.  74.  His  romantic  comps.  for  pf.  are 
highly  original,  diversified,  and  often  very 
difficult,  embracing  numerous  Preludes,  char- 
acteristic pieces,  marches,  a  concerto,  several 
pieces  of  familiar  modern  types,  and  a  va- 
riety of  excellent  Etudes.  His  chief  pf.-pieces 
are  Etudes-Caprices,  op.  12,  13,  16;  concert  - 
study  Le  Preux,  op.  17;  3  Grandes  Etudes 
(op.  15),  Aime-moi,  Le  vent,  Morte;  Nocturne, 
op.  22;  Saltarelle,  op.  23;  Marche  fun&bre,  op. 
26;  Marche  triomphale,  op.  27  ;Bourree  d'Au- 
vergne,  op.  29;  pt.-trio,  op.  30;  25  Preludes, 
op.  31;  Receutt  d' Impromptus,  op.  32;  Grande 
Sonate,  op.  33;  Douze  Etudes,  op.  35;  12 
Grandes  Etudes,  op.  39;  Mihuetto  alia  tedesca, 
op.  46;  the  works  for  the  pedal-piano  ('P6da- 
Uer  grand'),  op.  64,  66,  69  and  72,  are  valu- 
able.   His  brother, 

Alkali,  Napoleon -Morhange  (le  jeune), 
b.  Paris,  Feb.  2,  1826,  was  also  an  excellent 
and  popular  pianist,  and  published  several 
brilliant  salon-pieces. 

Allac'd  [-aht'che],  Leone  (or  Leo  Alla- 
tius),  b.  Chios,  1586;  d.  Rome,  Jan.  19, 
1669;  was  made  custodian  of  the  Vatican 
Library  in  1661;  compiled  and  publ.  (Rome, 
1666)  a  Dramaturgia,  or  catalogue  of  all 
dramas  and  operas  till  then  brought  out  in 
Italy — an  important  historical  work  (2nd 
augm.  ed.  by  Pasauali,  Venice,  1755);  wrote 
a  treatise,  De  Melodiis  Graecorum. 

Alle'gri,  Domenico,  Roman  composer, 
and  from  1610-29  m.  di  c.  at  S.  Maria  Mag- 
giore,  is  noteworthy  as  being  among  the  first 
to  provide  vocal  music  with  an  independent 
instrumental  accomp.  A  few  of  his  Mottetti 
are  still  extant  (a  sop.  solo  with  vlns.,  a  tenor 
duet,  and  a  bass  solo,  each  accompanied  by 
2  vlns.). 

Alle'gri,  Gregorio,  b.  Rome,  1584;  d. 
there  Feb.  18,  1652.  A  pupil  of  Nanini;  en- 
tered the  Papal  Chapel  in  1629,  after  acting 
for  some  years  as  chorister  and  composer  for 
the  cathedral  at  Fermo.  Chiefly  known  to 
fame  as  the  com  p.  of  the  celebrated  Miserere 
in  9  parts  [i.  e.,  for  two  choirs  singing  4  and 
5  parts  respectively],  regularly  sung  during 
Holy  Week  at  the  Sistine  Chapel,  and  sur- 
reptitiously written  out  by  Mozart  after 
twice  hearing  it,  though  its  publication  was 
'orbidden  on  pain  of  excommunication;  since 
then  it  has  been  frequently  published. 
Many  other  comps.  by  A.  are  preserved  in 
MS.;  2  books  of  Concertini  and  2  of  Mottetti 
have  been  printed,  also  a  4-part  sonata  for 
strings. — See  Q.-Lex. 

Allen,  George  Benjamin,  composer  and 
singer;  b.  London,  Apr.  21,  1822;  d.  Brisbane, 
Queensland,    Nov.    30,    1897.     Successively 


15 


chorister,  conductor,  and  organist,  in  Eng- 
land, Ireland,  and  Australia;  also  manager  of 
a  comedy-opera  company,  producing  several 
of  Sullivan  s  operas. — Works:  2 -act  opera, 
Castle  Grim  (London,  1865);  5-act  opera,  The 
Viking  (not  perf.);  opera,  The  Wicklow  Rose 
(Manchester,  1882);  two  others  in  MS.;  3 
cantatas;  2  Te  Deums;  anthems;  much 
concerted  vocal  music,  many  songs,  etc. 

Allen,  Nathan  H.,  b.  Marion,  Mass., 
1848.  Pupil  (1867-70)  of  Haupt  in  Berlin 
(organ);  then  settled  in  Hartford,  Conn.,  as 
org.  of  the  Centre  Ch.  and  teacher. — Works: 
Church-music  (hymns,  anthems,  quartets); 
concert-pcs.  for  org.,  and  for  pf.  and  org., 
vln.  and  pf.,  etc.;  pf.-pieces  (Fantaisie- Im- 
promptu; Nocturne;  3  Winter  Sketches); 
exercises  and  arrangements  for  org.;  songs 
and  part-songs.  Also  'Hymns  of  M.  Luther,' 
with  the  original  melodies,  and  German  and 
English  text  (New  York);  and  a  cantata, 
The  Apotheosis  of  St.  Dorothy. 

Allihn,  Heinrich  (Max),  b.  Halle-on- 
Saale,  Aug.  31,  1841;  d.  there  Nov.  15,  1910; 
from  1885  pastor  and  school-inspector  at 
Athenstedt,  near  Halberstadt  (Harz);  edited 
the  2nd  edition  (1888)  of  Topfe^s  Lehrbuch 
der  Orgelbaukunst  (Theorie  und  Praxis  des 
Orgelbaues);  publ.  Die  Hausinstrumente  Kla* 
vieru.  Harmonium  (1892),  and  Die  Pflege  des 
mus.  Teils  des  Gottesdienstes  (1906);  con- 
tributed many  essays  to  De  Wit's  'Zeitschrift 
fur  Instrumentenbau.' 

d"  Almeida,  Fernando,  b.  Lisbon,  circa 
1618;  d.  Thomar,  Mar.  21,  1660.  Distin- 
guished pupil  of  Duarte  Lobo;  in  1638, 
entered  the  Order  of  Christ  at  Thomar. — Of 
his  many  church-compositions,  only  one  folio 
vol.  in  MS.  is  extant:  Lamentacbes,  Respon- 
sorias  e  Misereres  das  tres  officits  da  Quarta, 
Quinta  e  Sexta-feria  da  Semana  Santa. 

Al'menr&der,  Karl,  bassoon -virtuoso;  b. 
Ronsdorf,  near  Diisseldorf,  Oct,  3,  1786;  d. 
Biebrich,  Sept.  14,  1843.  Was  in  turn  prof. 
of  bassoon  at  Cologne  Music- school  (1810), 
member  of  Frankfort  theatre-orch.  (1812), 
and  regimental  bandmaster;  started  a  manu- 
factory for  wind  instruments  (1820)  at 
Cologne,  but  gave  it  up  in  2  years,  entering 
the  Nassau  Court  Orch.  at  Biebrich.  He 
materially  improved  the  bassoon,  wrote  a 
treatise  on  it  (Mainz,  1824),  and  a  method 
for  it.  Publ.  a  bassoon-concerto;  potpourri 
for  b.  and  orch.;  variations  for  b.  with  vln., 
via.,  and  'cello;  introd.  and  variations  for 
bassoon  and  quartet;  Duettinos  for  2  bas- 
soons, etc.;  also  the  popular  ballad,  Des 
Hauses  letzte  Stunde. 

Alphara'bius.    See  Alfarabi. 
d*  Alquen     [-ken],    Friedrich,    younger 
brother  of  the  following;  b.  Arnsberg,  1810; 


D*  ALQUEN— ALVAREZ 


d.  London,  June  18,  1887;  a  law-student,  but 
took  piano  lessons  of  Ferd.  Ries  (with  whom 
he  travelled),  and  adopted  the  career  of  a 
professional  pianist  and  teacher.  In  1827, 
teacher  in  Brussels;  1830,  went  to  London. 
Publ.  concertos,  sonatas,  and  other  pf  .-pieces. 

d*  Alquen,  (Peter  Cornelius)  Johann, 

popular  song-writer,  b.  Arnsberg,  Westphalia, 
1795;  d.  Mulheim-on-Rhine,  Nov.  27,  1863. 
A  medical  student  in  Berlin,  he  was  a  music- 
pupil  of  Klein  and  Zelter,  and  gave  up 
medical  practice  to  devote  himself  to 
composition. 

Alslebeit,  Julius,  b.  Berlin,  Mar.  24, 
1832;  d.  there  Dec.  8,  1894.  Dr.  phil.,  Kiel 
Univ.  Pf. -pupil  of  Leuchtenberjj  and  Zech; 
studied  theory  with  S.  Dehn.  Hrst  a  con- 
cert-pianist and  teacher;  1865,  president  of 
Berlin  Tonkunstlerverein';  1872,  'Professor'; 
1879,  pres.  of  the  'Musiklehrerverein,'  being 
one  of  its  founders.  Editor  (from  1874)  of 
'Harmonic '  Publ.  12  Vorlesungen  iiber  Mu- 
sikgesckichte  (1862) ;  Ober  d.  Entwkkelung  d. 
Klavierspiels  (1870),  and  Licht-  und  Wende- 
fmnkte  in  der  Entwickelung  der  Musik  (1880); 
contributor  to  several  musical  papers. — 
Comps. :  Requiem  for  6-  and  8-part  choruses 
a  cappella;  a  liturgy;  overtures  and  march 
for  orch.;  songs;  pf. -pieces. 

Al'sted(t),  Johann  Heinrich,  b.  Bellers- 
bach,  near  Herborn,  Nassau,  in  1588;  d. 
Weissenburg,  Transylvania,  Nov.  8,  1638. 
Prof,  of  phil.  and  theol.  at  both  those  towns. 
Articles  on  music  are  found  in  his  'Encyclo- 
padie  der  gesammten  Wissenschaften'  (1610); 
wrote Elemenlale  musicum  (in  his  'Elementale 
mathematicum,'  publ.  1611),  transl.  into 
English  by  Birchensha  (1644). 

ATtenburg,  Johann  Ernst,  b.  Weissen- 
fels,  1736;  d.  Bitterfeld,  May  14,  1801. 
Trumpet -virtuoso;  field-trumpeter  in  the  7 
Years'  War,  then  organist  at  Bitterfeld. 
Wrote  a  valuable  treatise:  Versuch  einer  An- 
leitung  xur  heroisch-musikalischen  Trompeter- 
und  Paukerbunst  (Halle,  1795);  also  pieces 
for  2,  4,  6  and  8  trumpets,  and  a  concerto  for 
7  trumpets  and  kettle-drums. 

ATtenburg,  Michael,  b.  Alach,  n.  Erfurt, 
May  27,  1584;  d.  Erfurt,  Feb.  12,  1640.  St. 
theology  at  Halle;  in  1611,  pastor  at  Trochtel- 
born;  1621,  in  Gross-Sommerda;  1637,  asst.- 
pastor  (Diakonus)  at  Erfurt. — Composed 
much  excellent  church-music;  7-part  Wedding 
motet;  5-,  6-,  and  8-part  Church  and  Home- 
Songs;  Festival  Songs  in  5-14  parts;  6-part 
Intraden  for  instruments  or  voices;  etc. 

Altes  [-a'ssl,  Ernest-Eugene,  brother  of 
following;  b.  Paris,  March  28,  1830;  d.  St.- 
Dye,  n.  Blois,  July  8,  1899.  Violinist  and 
conductor;  pupil  of  Habeneck,  in  Paris  Cons.; 
took  first  vln.  prize  in  1848,  and  the  second 


16 


for  harmony  (under  Bazin)  in  1849;  in  1871, 
app.  deputy-conductor  of  the  Opera,  1879-87 
conductor,  then  retired. — Principal  comps.: 
A  symphony,  string-quartet,  trio  for  pf.  and 
strings,  sonata  for  pf.  and  vln.,  etc. 

Altes,  Joseph-Henri,  b.  Rouen,  Jan.  18, 
1826;  d.  Paris,  July  2*,  1895.  Pupil  of  the 
Paris  Cons.,  and  a  fine  flute-player  (Grand 
Opera);  successor  of  Dorus  as  Cons,  pro- 
fessor (1868-94);  publ.  flute-pieces,  many 
with  accomp.  of  pf.  or  orch. 

Althouse,  Paul,  dram,  tenor;  b.  Reading, 
Pa.,  Dec.  2,  1889.#  Began  his  vocal  studies 
with  Miss  Essick  in  Reading;  cont.  in  New 
York  with  P.#R.  Stephens  and  O.  Saenger; 
debut  as  Dimitri  in  Boris  Godunov  at  M.  O. 
H.,  Mar.  19,  1913  (creating  the  role  at  the 
American  premiere);  he  also  created  Duke 
d'Esterre  in  Herbert's  Madeleine  (1911)  and 
Conte  dc  Neipperg  in  Giordano's  Madame 
Sans-Gcne  (1915);  has  been  especially  success- 
ful as  a  concert-singer,  having  appeared  at 
many  of  the  most  important  mus.  festivals 
in  the  U.  S.  (Worcester,  Springfield,  Rich- 
mond, Savannah,  Norfolk,  etc.);  while  his 
operatic  repertory  is,  as  yet,  rather  limited 
(15  roles),  he  has  all  the  standard  oratorios 
in  his  concert  repertory. 

Altmann,  Wilhelm  [Dr.  phil.;  R.  Prof.]; 
b.  Adelnau,  Apr.  4,  1862.  Since  1900,  chief 
librarian  at  the  Berlin  R.  Library;  since  1906 
also  director  of  the  'Deutsche  Musiksamm- 
lung,1  to  which  he,  with  Breitkopf  &  Hartel, 
gave  the  initial  impulse:  since  1904,  also  head 
music  reviewer  for  the  'National-Zeitung/ — 
Works:  Chronik  des  Berliner  Philh.  Orchesters 
[1882-1901]  (1902);  Heinrich  v.  Herzogenberg 
(1903);  Offenlliche  Musikbibliotheken;  ein 
frommer  Wunsch  (1903);  Richard  Wagners 
Briefe  (1905;  a  list  of  3143  letters  with  brief 
synopses);  Brahms  Briefivechsel  (1908);  Wag- 
ners Briefivechsel  mil  seinen  Verlegern  (2  vols., 
1911);  Kammermusik-Litteratur-  Verzeichniss 
(list  of  chamber-music  publ.  since  1841] 
(1910).  Publ.  also  several  arrangements  of 
works  of  Bach,  Beethoven,  Stamitz;  edited 
first  ed.  of  Michael  Haydn's  Violin  Sonatas 
with  b.  cont. 

Alt'nikol,    Johann    Ghristoph    (J.    S. 

Bach's  pupil  and  son-in-law);  b.  (?);  d. 
Naumburg,  July,  1759,  as  organist  there. 
Publ.  works:  Several  cantatas  with  $r.  orch.; 
Magnificat;  some  others  in  MS.  in  Berlin 
Royal  Library. 

Alvarez  [-ra'l  [nom  de  the  Aire  of  Albert- 
Raymond  Gourron],  celebrated  stage-tenor; 
b.  Bordeaux,  France,  1861  At  18  he  volun- 
teered for  military  service  as  a  bandmaster; 
in  1883,  studied  singing  in  Paris  with  A.  de 
Martini,  and  soon  made  his  debut  at  Ghent, 


ALVAREZ— AMATO 


Belgium.  He  then  sang  at  the  'Grands  The- 
atres' of  Lyons  and  Marseilles,  winning  a 
reputation  which  caused  his  engagement  at 
the  Paris  Grand  Opera  in  1892  (debut  as 
Romeo).  Since  then  he  has  sung  the  chief 
tenor  rdles  on  that  stage,  creating  leading 
parts  in  Thais,  La  Montague  noire,  FrSdi- 
gonde,  HellS,  Messidor,  Lcs  Mattres-Chanteurs, 
Burgonde,  and  Gautier  VAquitaine  (Vidal). 
His  repertory  comprises  about  60  rdles.  He 
has  appeared  several  seasons  at  the  Metr. 
and  Manh.  Opera  Houses,  New  York,  and  at 
Covent  Garden. 

Alvarez  [-vah'-re'th],  Fermfh  Maria,  song- 
writer; b.  Saragossa,  Spain;  d.  Barcelona, 
1898. — Publ.  some  100  vocal  works,  accomp. 
in  part  by'pf.,  in  part  by  other  instruments; 
also  a  few  piano-pieces. 

Alva'ry,  Max,  dram,  tenor,  b.  Diisseldorf, 
May  3,  1858;  d.  at  his  country-seat  Daten- 
berg,  near  Gross-Tabarz,  Thunngia,  Nov.  8, 
1898.  His  real  name  was  Achenbach,  his 
father  being  the  celebrated  painter.  Pupil  of 
Stockhausen;  debut  at  Weimar;  he  became 
famous  in  New  York,  1884-9,  as  a  Wagner 
singer  (Siegfried  was  his  finest  rfile);  then 
returned  to  Hamburg,  but  visited  N.  Y. 
during  two  subsequent  seasons;  later  sang  at 
Mannheim. 

Alvs'leben,    Melitta.     See   Otto-Alvs- 

LEBEN. 

Aly'pios,  Grecian  musical  theorist  circa 
360  A.  D.,  whose  Introd.  to  Music,  containing 
all  the  Greek  transposing  scalesboth  in  vocal 
and  instr.  notation,  is  the  chief  source  for 
our  knowledge  of  ancient  Greek  notation.  It 
has  been  publ.  by  Meursius  (1616)  and  Mei- 
bom  ('Antiquae  musicae  auctores  septem,' 
Amsterdam,  1652);  the  notation  has  been 
reprinted  more  recently  by  Bellermann,  Paul, 
Riemann,  etc.;  a  new  critical  ed.  in  Jan's 
'Scriptores'  (1895). 

Amad6,  Ladislaw,  Baron  von,  b.  Kaschau, 
Hungary,  Mar.  12,  1703;  d.  Fclbar,  Dec.  22, 
1764.  National  poet,  and  composer  of  folk- 
songs, which  were  collected  and  published 
(Pest,  1836)  by 

Amad6,  Thaddaiu,  Baron  von,  b.  Pres- 
burg,  Jan.,  1783;  d.Vienna,  May  17,  1845; 
a  successful  pianist  and  composer,  who  dis- 
covered Liszt's  musical  genius  and  provided 
means  for  developing  it. 

Amade'i,  Roberto,  b.  Loreto,  Italy,  Nov. 
29,  1840.  Organist  and  m.  di  c.  at  Loreto, 
succeeding  his  father! — Works:  The  operas 
Luchino  Visconti  (Lugo,  i869);  Bianca  de* 
Rossi  (Ban);  IlBaccheUone  (comic);  the  1-act 
Amore  allegro  (Loreto,  '96;  succ);  also  much 
church -music,  and  pf.  and  vocal  music. 

Amalla,  the  name  of  three  artists,  prin- 
cesses by  birth.     (1)  Anna  A.,  Princess  of 


17 


Prussia,  sister  of  Frederick  the  Great,  b. 
Nov.  9,  1723;  d.  Mar.  30,  1787;  composed  a 
scries  of  excellent  chorales,  and  also  wrote 
music  to  Ramlcr's  Tod  Jesu,  later  composed 
by  Graun. — (2)  Anna  A.,  Duchess  of  Wei- 
mar, mother  of  the  Grand-duke  Ernst 
August,  b.  Oct.  24,  1739;  d.  Apr.  10,  1807; 
composed  the  operetta  Erwin  und  Eltnire 
(text  by  Goethe). — (3)  Marie  A.  Frlederike, 
Princess  of  Saxony,  sister  of  King  John  of 
Saxony,  b.  Aug.  10,  1794,  Dresden;  d.  there 
Sept.  18,  1870.  As  a  writer  of  comedies  she 
was  known  under  the  name  JAmalie  Heiter'; 
composed  also  church-music  and^  several 
operas  ( Una  donna,  Le  tre  cinture,  Die  Sieges- 
fahne,  Der  Kanonenschuss,  etc.).  [Riemann.] 

Ama'ni,  Nicholas,  b.  1875;  d.  1904. 
Russian  composer. — Op.  1,  string-trio;  op.  3, 
Variations  for  pf.;  op.  4,  pf. -suite;  op.  5,  two 
pf.-valses;  op.  6,  4?  songs;  op.  7,  4  characteris- 
tic pieces  for  pf.;  op.  8,  3  Preludes  for  pf. 

Ama'ti,  a  renowned  family  of  violin- 
makers  at  Cremona,  Italy.  (1)  Andrea,  b. 
1530  (?),  d.  1611  (?),  was  the  first  violin- 
maker  of  the  family;  his  violins  were  usually 
of  small  pattern,  but  show  a  marked  advance 
over  the  Brescia  instrs. — His  2  sons,  (2) 
Antonio,  b.  1550,  d.  1638,  and  (3)  Gero- 
nimo,  b,  1556;  d.  Nov.  2,  1630,  worked  for 
a  time  together,  producing  violins  of  nearly 
the  same  style  as  their  father. — (4)  Niccold, 
b.  Dec.  3.  1596;  d.  Apr.  12,  1684.  the  most 
celebrated  of  the  Amatis,  improved  the  model 
in  several  respects,  and,  though  generally 
working  with  a  small  pattern,  built  some 
so-called  'grand  Amatis' — large  violins  of 
more  powerful  tone,  and  in  great  request. 
The  tone  of  his  instrs.  is  clearer,,  purer,  and 
more  sonorous  than  in  those  of  his  prede- 
cessors. His  label  is  'Nicolaus  Amati  Cre- 
monens.  Hieronimi  filius  Antonii  nepos. 
Fecit  anno  16 — .'  In  his  workshop  were 
trained  both  Andrea  Guarneri  and  Antonio 
Stradivari. — (5)  Niccold's  son,  Geronimo, 
b.  Feb.  26,  1649;  d.  Feb.  21,  1740,  the  last  of 
the  family,  was  far  inferior  to  his  father  as 
a  workman. 

Ama'ti,  Vincenzo  (called  Amatus),  Dr. 

of  theol.,  and  m.  di  capp.  at  Palermo  cathe- 
dral from'  circa  1665;  b.  Cimmina,  Sicily, 
Jan.  6,  1629;  d.  there  July  29,  1670.  Publ. 
sacred  comps.,  and  the  opera  Vlsaura 
(Aquila,  1664.) 

Ama'to,  Pasquale,  operatic  baritone,  b. 
Naples,  1878.  St.  at  Cons,  of  Naples  (1896- 
99);  debut  as  Germont  in  La  Traviata  at 
Teatro  Bellini,  Naples,  in  1900.  Subse- 
quently sang  at  Buenos  Aires,  Milan,  and  in 
Russia,  England,  Egypt  and  Germany;  since 
1909  member  of  the  M.  O.  H.  Created  the 
rdles  of  King  Hadraot  (Armida),  Carlo 
Worms  (Ger  mania),  Jack  Ranee  (Girl  of  the 


AMBROS— AMMERBACH 


Golden  West),  Golaud  (Pellcas  el  MHisande). 
Principal  r61es:  Count  Luna  (Trovatore),  Lord 
Ashton  (Lucia),  Mephistopheles  (Faust),  des 
Grieux  (Manon),  Escamillo  (Carmen).  Amato 
is  regarded  as  one  of  the  finest  operatic 
baritones. 

Am'bros,  August  Wilhelm,  distinguished 
musical  historiograph  and  critic;  b.  Mauth,  n. 
Prague,  Nov.  1/,  1816;  d.  Vienna,  June  28, 
1876;  divided  his  student-years  at  Prague 
Univ.  between  law  and  music;  was  app. 
Public  Prosecutor  at  Prague  in  1850,  but  con- 
tinued his  musical  work  and  study,  and  in 
1856  attracted  general  notice  by  his  essay  on 
Die  Grenzen  der  Musik  und  Poesie  (2nd  ed. 
Leipzig,  1885;  Engl,  transl.  N.  Y.,  1893),  a 
study  in  musical  aesthetics  put  forth  in  reply 
to  Hanslick's  Vom  Musikalisch-Schonen, 
and  a  treatise  of  high  and  lasting  value  as 
a  corrective  to  Hanslick's  extreme  views. 
This  was  followed  by  Culturhistorische  Bilder 
aus  dent  Musikleben  der  Gegenwart  (1860;  2nd 
ed.  Leipzig,  1865),  a  collection  of  admirable 
essays;  he  was  then  (1860)  engaged  by  Leu- 
ckart  of  Breslau  (now  in  Leipzig)  to  write  a 
History  of  Music,  his  principal  work,  and  a 
life-task  destined  to  render  him  famous.  In 
1869  he  was  app.  prof,  of  music,  Prague 
Univ.,  and  prof,  of  mus.  history^  at  Prague 
Cons.;  1872,  app.  to  a  position  in  the  Min- 
istry of  Justice,  Vienna,  and  also  prof,  in  the 
Cons,  at  Vienna.  In  gathering  the  materials 
necessary  for  the  history,  he  spent  years  of 
labor  in  the  libraries  of  Munich,  Vienna,  and 
several  Italian  cities,  having  leave  of  absence 
for  this  purpose,  and  likewise  a  grant  of 
money  from  the  Vienna  Academy.  Vol.  iii. 
down  to  Palestrina,  appeared  1868;  A.  died 
before  completing  the  fourth,  which  was 
edited  from  his  notes  and  materials  by  C.  F. 
Becker  and  G.  Nottebohm;  a  fifth  vol.  was 
published  (1882)  by  O.  Kade  from  further 
collected  materials,  and  W.  Langhans  has 
written  a  sequel,  in  a  more  popular  style 
(under  the  title,  Gcschichte  der  Musik  des 
17.,  18.  und  19.  Jahrhunderts),  bringing  the 
work  up  to  date  (2  vols.,  1882-6).  A  list  of 
names  and  general  index  were  also  published 
by  W.  Baumker  in  1882.  A  2nd  ed.  (Leu- 
ckart,  Leipzig,  1880)  of  the  original  4  vols,  has 
been  printed;  contents:  Vol.  i,  The  Begin- 
nings of  Music,  Mus.  of  the  Antique  World, 
of  the  Greeks,  etc.;  vol.  ii,  from  the  Christian 
era  down  to  the  First  Flemish  School;  vol. 
iii,  from  the  Netherlander  to  Palestrina; 
vol.  iv,  Palestrina,  his  contemporaries  and 
immediate  successors.  Vol.  i  nas  been  re- 
written, not  wholly  to  its  advantage,  by  B. 
Sokolovsky.  Vols,  ii  and  iii  are  of  peculiar 
value.  Vol.  ii  was  republ.  (1892)  in  a  new 
revision  by  H.  Reimann;  likewise  vol.  iv 
(1909),  by  H.  Leichtcntritt;  vol.  v  was 
revised  and  enlarged  (1911)  by  O.  Kade. — 


Two  series  of  entertaining  essays,  Bunte 
Blatter  (1872-74;  2nd  ed.  by  E.  Vogel,  1896)r 
are  interesting  to  either  amateurs  or  profes- 
sionals. Ambros  was  also  an  excellent  prac- 
tical musician,  being  a  fine  pianist,  ana  the 
composer  of  an  opera,  Breiislaw  a  Jitka, 
overtures  to  Othello  and  the  Magico  prodi- 
gioso,  several  piano-pes.,  numerous  songs,  and 
2  masses,  a  Stabat  Mater,  etc. 

Ambrose  (Ambroeius),  b.  Trier  (Treves). 
a.d.  333;  d.  Milan,  Apr.  4,  397;  elected 
Bishop  of  Milan  in  374;  canonized  after 
death.  Celebrated  for  his  regulation  (384) 
and  development  of  singing  in  the  Western 
Churches,  by  the  introduction  and  cultiva- 
tion of  ritual  (antiphonal  and  congregational) 
song,  as  practised  at  the  time  in  the  Eastern 
Church,  and  by  the  consequent  adoption  of 
the  4  authentic  church-modes;  his  indisput- 
able authorship  of  many  sacred  songs  has 
earned  him  the  title  of  Father  of  Christian 
Hymnology.'  It  does  not  appear  that  St. 
Ambrose  was  acquainted  with  the  use  of  the 
letters  A-G  as  signs  of  notation;  his  reputed 
authorship  of  the  'Ambr.  Chant,1  Te  Deum 
laudamus,  is  mythical. — Bibliography:  Bi- 
raghi,  Inni  sinceri  e  carmi  di  S.  Ambrogio 
(Milan,  1862);  G.  M.  Dreves,  Aurelius  Am- 
brosius,  der  Voter  des  Kirchengesanges  (Frei- 
burg, 1893);  A.  Mocquereau,  Notes  sur 
V influence  de  V accent  et  du  cursus  tonique  latins 
dans  le  chant  ambrosien  (Paris,  1897);  A. 
Steier,  Vntersuchungen  uber  die  Echtheit  der 
Hymnen  des  Ambrosius  (Leipzig,  1903);  P. 
Wagner,  Ursprung  und  Entwicklung  der  litur- 
gischen  Gesangsformen  bis  zum  Ausgange  des 
MittelaUers  (Leipzig,  1910);  E.  Garbagnati, 
Riviste  sull  antica  salmodia  ambrosiana 
(Rome,  1912). 

Ambrose,  Paul,  b.  Hamilton.  Ont.,  Oct. 
11,  1868.  Pupil  of  his  father  and  A.  R.  Par- 
sons (pf.),  B.  O.  Klein  (cpt.),  and  D.  Buck 
(orch.);  1886-90,  organist  in  N.  Y.  City; 
since  1890  supervisor  of  mus.  instruction  in 
the  state  schools  of  New  Jersey.  Composer 
of  songs,  part-songs  and  pf.-pieces, 

d'Ambrosio,  Alfredo,  b.  Naples,  Tune  13, 
1871;  d.  Nice,  Jan.  2,  1915.  Pupil  at  the 
Cons,  of  Naples  of  E.  Bossi  (comp.);  st.  vl. 
1889-90  in  Madrid  with  Sarasate;  then  two 
vears  with  Wilhelmj  in  London;  lived  in 
Nice  as  teacher  and  leader  of  a  string  quar- 
tet. Wrote  an  opera,  Pia  de  Tolomei;  a 
ballet,  Ersilia;  a  str.-quartet;  a  str.-quintet; 
2  concertos  f.  vl.  and  orch.;  about  40  comps. 
for  vl.  (Romania  in  D,  Canzonetta,  etc.). 

Am'(m)erbach,  Ellas  Nlkolaus,  contra- 
puntist and  organist;  b.  Naumburg,  circa 
1530;  d.  Leipzig,  Jan.  27,  1597.  From  1560. 
organist  of  the  Thomaskirche,  Leipzig;  publ. 
(Leipzig,  1751)  an  Orgcl-  oder  Instrument- 
Tabulatur,  a  work  important  as  bearing  his- 


18 


AMIOT— ANDERSEN 


torical  witness  to  the  progress  in  the  practice 
of  tuning,  the  fingering  of  keyboard-instrs., 
and  the  execution  of  graces,  etc.  (described 
by  Becker,  'Die  Hausmusik  in  Deutschland, 
Leipzig,  1840);  and  Ein  neu  kunstlich  Tabula- 
turbuch  (1575;  2nd  ed.f  1583).  Also  printed 
many  comps.  for  organ  and  clavichord. 

Amlot  [ah-m'ydh'],  Joseph  Maria,  b.  Tou- 
lon, 1718;  d.  Pekin,  1794;  Jesuit  missionary 
to  China;  transl.  Li  Koang  Ti's  work  on 
Chinese  music:  Commentaire  sur  le  livre 
classique  touchanl  la  musique  des  anciens;  also 
wrote  Memoire  sur  to  musique  des  Chinois, 
tant  anciens  que  modernes  (vol.  vi  of  'Me- 
moires  concernant  1'histoire,  les  sciences,  lea 
arts,  etc.,  des  Chinois';  Paris,  1780,  15  vols., 
edited  by  Abb6  Rouffier). 

Am'(m)on,  Blasius,  d.  Vienna,  June, 
1590;  a  Tyrolese  by  birth,  educated  as  a 
sopranist  in  the  service  of  Archduke  Ferdi- 
nand of  Austria;  an  able  contrapuntist,  many 
of  whose  works  were  printed  (book  of  5-part 
Introits,  Vienna.  1582;  ditto  4-part  Masses, 
Vienna,  1588;  2  books  of  4-  to  6-part  Motets, 
Munich,  1590-91;  five  4-part  Masses,  Mu- 
nich, 1591;  and  a  book  of  4-part  Introits, 
Munich,  1601);  numerous  works  in  MS.  are 
in  the  Munich  Library.  He  died  as  a  Fran- 
ciscan friar. — See  Q.-Lex. 

Am'ner,  John,  b.  late  in  the  16th  cent.; 
d.  1641.  Organist  and  choirmaster  at  Ely 
cathedral,  England,  1610-41;  Mus.  Bac. 
Oxon.,  1613. — Works:  Hymns  in  3  to  6  parts, 
for  voyces  and  vyols  (1615);  anthems;  etc. — 
Ralph,  his  son,  was  bass  singer  at  the  Royal 
Chapel,  Windsor,  from  1623-63. 

A'mon,  Johann  (Andreas),  b.  Bamberg, 
1763;  d.  Wallerstein,  Bavaria,  March  29, 
1825;  a  virtuoso  on. the  horn,  and  pupil  of 
Punto,  with  whom  he  made  long  professional 
tours  to  the  chief  cities  of  France  and  Ger- 
many. App.  music-director  at  Heilbronn  in 
1789,  he  lived  there  till  1817,  then  accepting 
the  post  of  Kapellm.  to  the  Prince  of  Ottin- 
gen- Wallerstein. — His  printed  comps.  include 
symphonies,  a  pf.-concerto,  a  concerto  for 
flute  and  viola,  various  sonatas,  trios,  quar- 
tets, quintets,  etc.,  etc. — See  Q.-Lex. 

Amyot.    See  Amiot,  Joseph  Maria. 

A'nacker,  August  Ferdinand,  b.  Frei- 
berg, Saxony,  Oct.  17,  1790;  d.  there  Aug. 
21,  1854;  a  pupil  of  Schicht  and  Schneider  at 
Leipzig;  in  1822  cantor  and  music-director  in 
Freiberg,  and  a  teacher  of  music  in  the  Sem- 
inary (R.  Volkmann  and  Fr.  Brendel  were 
his  pupils);  in  1827,  conductor  of  the  miners' 
band.  A  sound  musician  and  composer 
(wrote  the  cantatas  Bergmannsgruss  and 
Lebens  Blume  und  Lebens  Unbestand,  7  vocal 
numbers  to  Daring's  Bergmannstreuef  various 
piano-pes.,  songs,  etc.). 


19 


Ancona,  Mario,  dramatic  baritone;  b. 
Florence,  Nov.,  1870.  He  studied  Social 
Science  and  Law,  and  began  life  as  a  diplo- 
mat; but  his  interest  in  music  was  so  strong 
that  he  soon  abandoned  the  diplomatic 
career,  and  made  his  debut  at  Trieste  as 
Scindia  in  Massenet's  Le  Roi  de  Lahore, 
scoring  an  emphatic  success;  then  sang  at 
the  principal  opera  houses  of  Italy;  9  seasons 
at  Covent  Garden,  5  at  M.  O.  H.,  2  at  Man- 
hattan O.  H.;  has  sung  in  Spain,  Portugal, 
Russia  and  Buenos  Aires;  recipient  of  several 
Portuguese  orders;  Commendatore  della  Co- 
rona d' Italia.  He  has  appeared  in  more  than 
60  roles  (all  Wagner  parts  in  German);  his 
repertoire  includes  the  chief  baritone  parts  in 
I'Africaine,  Les  Huguenots,  Faust,  Carmen, 
Ptcheurs  de  Perles,  La  Boheme,  Tosca,  Ma- 
dama  Butterfly,  Don  Giovanni,  Notze  di  Fi- 
garo, Andrea  Chenier,  II  Barbiere  di  Siviglia, 
La  Gioconda.  all  the  Verdi  operas  still  in  the 
repertoire  of  to-day,  etc. 

Ancot  [ahn-k6h']f  a  family  of  musicians  at 
Bruges.— Jean  (f>ere)f  b.  Oct  22,  1779;  d. 
July  12,  1848;  violin-virtuoso,  pianist,  and 
composer;  St.  (1799-1804)  in  Paris  under 
Baillot,  Kreutzer,  and  Catel,  then  settled  in 
Bruges  as  teacher.  Publ.  4  violin-concertos; 
overtures,  marches,  sacred  music,  etc.;  most 
of  his  works  are  still  in  MS.  Taught  his  2 
sons— (1)  Jean  (fils),  b.  July  6,  1799;  d. 
Boulogne,  June  5,  1829;  finished  his  mus. 
education  at  the  Paris  Cons,  under  Pradhcr 
and  Berton;  an  accomplished  pianist,  in 
London  1823-25,  and  settled  in  Boulogne 
after  making  concert- tours  through  Belgium; 
an  astonishingly  prolific  composer  (225  works, 
chiefly  pf.-sonatas,  a  concerto,  variations, 
etudes,  fugues.  4-hand  fantasias,  also  violin- 
concertos,  etc.); — and  (2)  Louis,  b.  Bruges, 
June  3,  1803;  d.  there,  1836;  for  a  time 
pianist  to  the  Duke  of  Sussex,  London;  made 
extended  continental  tours,  taught  at  Bou- 
logne and  Tours,  and  finally  returned  to 
Bruges.    Compositions  of  little  value. 

An'ders,  Gottfried  Engelbert,  b.  Bonn. 
1795;  d.  Paris,  Sept.  22,  1866.  Archivist  and 
superintendent  of  Paris  Library.  Wrote 
monographs  on  Paganini  (1831),  and  Beet- 
hoven (1839). 

An'dersen,  (Carl)  Joachim,  b.  Copen- 
hagen, April  29  1847;  d.  there  May  7,  1909; 
son  and  pupil  ot  the  flutist  Christian  Joachim 
A.,  and  himself  a  remarkable  flute-player  and 
conductor;  1869-77,  member  of  the  Royal 
Orch.,  Copenhagen;  1881  in  Berlin,  where  he 
was  a  co-founder,  and  for  ten  years  1st  flute 
and  asst. -conductor,  of  the  Philharm.  Orch.; 
since  1893,  cond.  of  the  Palace  Orch.  at  Co- 
penhagen. Chamber-musician  to  the  Rus- 
sian, Prussian,  and  Danish  courts.  Compo- 
sitions for  flute  many  and  fine:  Concert-pieces 


ANDERSON— ANDREA 


with  orch.;  Hungarian  fantasia;  Ballade; 
Dance  of  the  Sylphs;  24  easy  and  24  difficult 
Etudes,  etc. — His  brother,  Vi£o,  eminent 
flute-player,  soloist  in  the  Thomas  orchestra 
at  Chicago;  b.  Copenhagen,  April  21,  1852; 
d.  by  suicide  at  Chicago,  Jan.  29,  1895. 

Anderson,  Lucy,  nSe  Philpot,  b.  Bath, 
in  Dec.,  1790;  d.  London,  Dec.  24,  1878. 
Fine  pianist,  pupil  of  Windsor  at  Bath,  and 
the  teacher  of  Queen  Victoria  and  her 
children. 

An'derson,  Thomas,  b.  Birmingham, 
Engl.,  April  15,  1836;  d.  there  Sept.  18,  1903. 
Was  teacher  there,  and  organist  of  the  Par- 
ish church,  Solihull;  mus.  critic  of  the  Bir- 
mingham 'Daily  News.' — Works:  The  can- 
tatas The  Song  of  Deborah  and  Barak,  The 
Wise  and  Foolish  Virgins,  The  Wreck  of 
the  Hesperus,  John  Gilpin,  The  Three  Jovial 
Huntsmen,  The  Norman  Baron  (1884),  and 
Yuletide  (Birm.  Fest.,  1885);  an  English 
Requiem;  prize  glee,  Mat  o'  the  Mill;  many 
songs;  a  symphony,  overtures,  marches  and 
an  AUemande,  for  orchestra;  string-quartet; 
pf  .-pieces. 

d'Andrade  [dahn-drah'de],  Francesco, 
dramatic  baritone;  b.  Lisbon,  Jan.  11#  1859; 
pupil  of  Miraglia  and  Ronconi;  debut  San 
Remo,  1882,  in  Aida.  Sings  all  leading  bari- 
tone stage-roles;  is  also  a  fine  concert-singer, 
and  has  been  heard  all  over  Europe.  In  1906 
he  was  singing  at  Kroll's  Th.,  Berlin. 

Andre*,  Johann,  father  of  a  musical 
family;  b.  Offenbach,  Mar.  28,  1741;  d.  there 
June  18,  1799.  Founder  of  the  well-known 
music-publ.  house  at  Offenbach,  est.  Aug.  1, 
1774.  He  was  an  accomplished  pianist,  a 
composer  of  some  30  operas  and  'Singspiclc' 
(Der  Tdpfer,  Erwin  und  Elmire,  Belmonte  e 
Constants  [Berlin,  1781,  a  year  before  Mo- 
zart's], etc.),  of  many  instrl.  works  and  songs 
{Rheinweinlied,  Bekrdnzt  mit  Laub),  and  was 
the  creator  of  the  durchkomponierte  Ballade, 
the  first  being  Die  Weiber  von  Weinsberg 
(1783).  For  7  years  (1777-84)  he  was  Ka- 
pellm.  at  Dobbelin's  Theatre  in  Berlin.  Up 
to  his  death  his  establishment  had  issued 
about  1,200  numbers. — See  Q.-Lex. 

Andre",  (Johann)  Anton,  third  son  of 
Joh.  A.;  b.  Offenbach,  Oct.  6,  1775;  d.  there 
April  6,  1842.  A  precocious  mus.  talent, 
pupil  of  Vollweilcr  in  Mannheim  1793-96; 
was  a  fine  pianist,  violinist  and  composer 
before  entering  the  Univ.  of  Jena;  after  com- 
pleting his  studies  he  made  extensive  travels, 
and  on  his  father's  death  took  charge  of  the 
business,  adding  peculiar  lustre  to  its  good 
name  by  the  purchase  (1800)  of  Mozart's 
entire  mus.  remains.  He  publ.  M.'s  auto- 
graph thematic  catalogue,  and  supplemented 
it  by  a  list  of  the  works  so  acquired.      By 


accepting  the  application  of  the  lithographic 

{>rocess  to  music-printing  (1779),  another 
ong  stride  was  taken  towards  placing  this 
firm  in  the  front  rank.  He  was* an  excellent 
composer  (2  operas,  symphonies,  songs, 
etc.),  a  successful  teacher,  and  a  note- 
worthy theorist  (Lehrbuch  d.  Tonsetzkunst 
[unfinished!,  2  vols,  on  Harmony,  Cpt., 
Canon,  and  Fug^e,  1832-43,  new  revised  ed. 
1875;  and  Anleitung  sum  Violins piele). — See 
Q.-Lex.— His  sons  were:  (1)  Carl  August,  b. 
Tune  15,  1806;  d.  Frankfort,  Feb.  15,  1887; 
head  (from  1835)  of  the  Frankfort  branch, 
opened  in  1828,  and  founder  of  the  piano- 
factory  (lMozartflugel');  author  of  Der 
Klavierbau  und  seine  Geschichle  (1855). — 
(2)  Julius,  b.  Offenbach,  June  4,  1808;  d. 
Frankfort,  Apr.  17,  1880;  a  fine  organist  and 
pianist,  pupil  of  Aloys  Schmitt  (his  grand- 
father's pupil),  author  of  a  Praktische  Orgel- 
schule,  composer  of  several  interesting  organ- 
pieces,  and  arranger  of  Mozart's  works  for 
pf.  4  hands. — (3)  Joh.  August,  b.  Mar.  2, 
1817;  d.  Oct.  29,  1887;  his  father's  successor 
(1839)  in  the  Offenbach  publishing  establish- 
ment. His  2  sons,  Karl  (b.  Aug.  24,  1853) 
and  Adolf  (b.  Apr.  10,  1855;  d.  Sept.  10, 
1910),  succeeded  to  the  business. — (4)  Jean 
Baptiste  (de  St.-Gilles),  b.  Mar.  7,  1823; 
d.  Frankfort,  Dec.  9,  1882;  pianist,  and 
composer  of  various  pes.  for  piano  and  voice, 
was  a  pupil  of  A.  Schmitt,  Taubcrt  (pf.),  and 
Kessler  and  Dehn  (harmony) ;  lived  tor  vears 
in  Berlin  with  the  (honorary)  title  of  Her- 
soglich  bernburgischer  H  of  kapellmeister.' 

Andre'a,  Volkmar,  b.  Bern,  Switzerland, 
July  5,  1879.  While  pursuing  his  course  at 
the  'Gymnasium,'  he  studied  music  at  the 
same  time  with  Karl  Munzinger;  1897-1900 

§upil  of  the  Cologne  Cons.  (Wullner,  Kleffel, 
taub);  spent  1  year  (1900-1)  at  the  Univ.  of 
Bern;  1901-2  'solorepetitor'  at  the  R.  Court 
Op.  in  Munich;  1902-4  cond.  'Stadtbiirgcr- 
vercin*  in  Winterthur;  at  present  cond.  of  a 
mixed  ch.  (since  1902),  a  male  ch.  (since 
1904),  and  the  symph.  concerts  (since  1906) 
at  Zurich;  1913  mus.  dir.  at  the  Univ.;  1914 
Ph.D.  (hon.  c);  in  same  year  app.  dir.  of  the 
Zurich  Cons.  Has  travelled  extensively  as 
guest -cond.  (many  German  cities,  Paris,  Bar- 
celona, Milan);  conducted  in  Milan  (1911) 
the  first  performance  ever  given  in  Italy  of 
Bach's  St.  Matthew  Passion.— Works:  Op.  1, 
pf.-trio  in  F  m.;  op.  14,  do.  in  E>;  op.  2,  Das 
Gottlichc,  cantata  for  s.,  ch.  and  orch.;  op.  3, 
Charons  Nachen,  do.;  op.  4,  sonata  for  vl.  in 
D;  op.  5,  10,  12,  15,  16,  18,  23,  songs;  op.  6, 

8,  11,  13,  17,  21,  22,  24,  male  chs.  a  capp.; 
op.  7,  Symphonische  Fantasie  for  orch.;  op. 

9,  str.-quartet  in  Bl>;  op.  19,  Vaterunser  for 
s.,  ch.  and  orch.;  op.  20,  Seeks  Klavierstiicke; 
op.  25,  an  opera,  Ratcliff  (Duisburg,  1914). 


20 


AN  DRfeE— ANGELET 


Andree,  Elfrida,  b.  Wisby,  Sweden,  Feb. 
19,  1841.  Pupil  of  Sohrling,  Norman  and 
Gade;  1861-66,  org.  in  Stockholm;  app.  org. 
at  Cathedral  in  Gothenburg,  1867.  Wrote 
the  choral  work,  Snofrid;  a.  symph.  for  orch.; 
2  symphs.  for  org.;  a  str.-quartet;  a  pf.- 
quintet;  a  pf.-tfio;  2  romanzas  for  vl.;  pf.- 
pieces;  songs. 

Andre'oli,  Carlo,  pianist  and  organist,  b. 
Mirandola,  Jan.  8,  1840.  Pupil,  and  from 
1875  pf.-tcacher,  in  Milan  Cons.  Gave  suc- 
cessful concerts  in  London,  1858.  Composed 
nocturnes,  romances,  etc. — His  father,  Eyan- 
gelista  A.,  organist  and  teacher  at  Miran- 
dola, was  b.  1810;  d.  June  16,  1875.— His 
brother, 

Andre'oli,  Guglielmo,  b.  Mirandola, 
Apr.  22,  1835;  d.  Nice,  Mar.  13,  1860.  Pupil 
of  Milan  Cons.;  excellent  pianist;  made  ex- 
tended and  successful  concert  tours  through 
Europe;  wrote  a  piano-quartet,  Preludio  e 
minuetto,  and  an  excellent  Manuole  d'armonia. 

Andreoz'zl  [-dht'se],  Gaetano,  b.  Naples, 
1763;  d.  Paris,  Dec.  21,  1826;  a  pupil  of 
Jommclli ;  composed  45  operas,  the  first,  at  the 
age  of  16,  being  La  Morte  di  Cesare  for  the 
Teatro  Argentina  at  Rome.  Went  to  Rus- 
sia in  1784;  printed  6  string-quartets  in  Flor- 
ence, 1786,  and  in  1790  became  m.  di  c. 
there,  and  the  following  year  at  Madrid; 
finally  settled  in  Naples,  whence  poverty 
drove  him  in  1825  to  Paris.  He  also  wrote  3 
oratorios. 

Andre'vi,  Francesco,  was  a  prominent 
Spanish  composer  and  theorist,  of  Italian 
parentage;  b.  Sanayuba,  near  Lerida,  Nov. 
16,  1786;  d.  Barcelona,  Nov.  23,  1853.  He 
took  holy  orders;  was  music-director  at  the 
cathedrals  of  Valencia,  Sevilla,  and  other 
Spanish  cities,  also  at  Bordeaux  from  1832- 
42,  during  the  Carlist  wars.  From  1845-9  he 
lived  in  Paris,  and  was  then  called  to  Barce- 
lona as  maestro  of  the  church  of  Our  Lady 
of  Mercy.  The  best  of  his  numerous  and 
excellent  compositions  are  an  oratorio,  The 
Last  Judgment,  a  Requiem,  and  a  Stabat 
Mater;  only  a  Nunc  dimittis  and  a  Salve 
regina  have  been  printed.  A  treatise  on 
Harmony  and  Cpt.  has  been  translated  into 
French  (Paris,  1848). 

Andrien.  -  See  Adrien. 

Andrles  [-dres'l,  Jean,  b.  Ghent,  Apr.  25, 
1798;  d.  there  Jan.  21,  1872;  from  1851 
Director,  and  after  1856  Hon.  Dir.,  of  the 
Ghent  Cons.,  where  he  had  been  prof,  of 
vln.-  and  ensemble-classes  since  1835;  also 
(till  1855)  solo  violinist  at  the  theatre. — 
Wrote:  Apercu  historique  de  tons  les  instrs.  de 
musique  actuellement  en  usage;  Precis  de  Vhis- 
toire  de  la  musique  depuis  les  temps  les  plus 


recuUs  (1862);  Instrs.  a  vent.  La  Flute  (1866); 
Remarques  sur  les  cloches  et  les  carillons  (1868). 

Ane'rio,  Felice,  b.  Rome,  1560;  d.  there 
Sept.  28,  1614;  st.  under  G.  M.  Nanini;  was 
then  app.  maestro  of  the  English  College, 
and  later  (Apr.  3,  1594)  Palestrina's  suc- 
cessor as  composer  to  the  Papal  Chapel.  His 
eminence  is  best  attested  by  the  fact  that 
several  of  his  comps.  were  for  a  long  time 
supposed  to  be  Palestrina's  own.  Besides 
numerous  MSS.  in  Roman  libraries,  many 
of  A.'s  works  are  extant  in  printed  collections, 
between  1585-1622;  several  books  of  mad- 
rigals a  5  and  6,  canzonets  and  madrigals  a 
3-4,  concerti  spirituals  a  4,  litanies  a  4-8,  and 
2  books  of  hymns,  cantica  and  motets;  also 
separate  motets,  etc. — See  Q.-Lex. 

Ane'rio,  Giovanni  Francesco,  younger 
brother  of  Felice,  b.  Rome,  circa  1567;  d. 
there  1620  (?);  1575-79,  chorister  at  St. 
Peter's;  circa  1609,  m.  di  c.  to  King  Sigis- 
mund  III  of  Poland;  1610,  m.  di  c.  at  Verona 
cathedral;  1611,  Prefect  of  the  Seminario 
romano;  and  1613-20,  m.  di  c.  of  the  Jesuit 
church  of  S.  Maria  dei  Monti  at  Rome, 
taking  holy  orders  in  1616.  A  very  prolific 
composer  in  all  the  forms  of  sacred  music 
then  in  vogue,  many  of  his  works  being 
printed  by  the  leading  Italian  publishers; 
celebrated  as  the  arranger  of  Palestrina's 
6-part  Missa  Papte  Marcelli,  for  4  parts 
(Rome,  1600). — See  Q.-Lex. 

Anet,  Bapti8te.    See  Baptists. 

Anfos'si,  Pasquale,  prolific  composer  of 
operas  (76  in  all);  b.  Taggia,  near  Naples, 
Apr.  25,  1727;  d.  Rome,  Feb.,  1797.  Origin- 
ally a  violinist,  he  studied  composition  under 
Piccinni,  and  brought  out  2  unsuccessful 
operas,  but  with  his  third  venture,  L}  incognita 
perseguitata  (Rome,  1773),  won  popular  ap- 
proval, being  supported  by  a  powerful  clique 
hostile  to  riccinni.  In  ungenerous  rivalry 
with  his  old  teacher  and  friend,  he  brought 
out  a  great  number  of  operas;  his  works  soon 
palled  on  the  Roman  palate,  and  he  sought 
new  fields,— in  Paris  (1779).  London  (1781- 
3,  as  director  of  the  Italian  Opera),  and  after 
that  in  Prague,  _  Dresden,  and  Berlin.  Re- 
turning to  Italy  in  1784,  he  was  in  1791  made 
m.  di  c.  at  the  Lateran,  and  turned  his  atten- 
tion to  sacred  composition  (12  oratorios, 
masses,  psalms,  etc.).  His  once  lauded 
works  are  now  forgotten. 

Angelet  [ahnzh-la'l,  Charles-Francois, 
excellent  pianist,  b.  Ghent,  Nov.  18,  1797; 
d.  Brussels,  Dec.  20,  1832;  a  pupil  of  Zim- 
merman at  the  Paris  Cons.;  established 
himself  ^  as  a  teacher  at  Brussels,  studied 
composition  there  under  Fetis,  and  publ. 
various  piano- pes.,  a  trio,  a  symphony,  etc. 
Appointed  court-pianist  to  King  William  I 
of  the  Netherlands  in  1829. 


21 


D'ANGELI— ANSCH  OTZ 


d'An'gell,  Andrea,  b.  Padua,  Nov.  9, 
1868.  While  pursuing  his  academic  studies 
at  the  Univ.  of  Padua  (Ph.D.  with  the  diss. 
La  Musica  nel  Dramma  Greco),  he  studied 
comp.  at  the  Istituto  Cesare  Pollini;  prof, 
of  Italian  literature  at  the  Collegio  in  Cale- 
gari;  now  (1916)  prof,  of  Ital.  lit.  at  the  Liceo 
Mamiani  and  prof,  of  aesthetics  and  history  of 
music  at  the  Liceo  Rossini  in  Pesaro;  also 
ed.  'La  Cronaca  Musicale';  was  the  first  to 
introduce  into  Italy  the  (until  then  unknown) 
'lecture-recital'  a9  'Concerti  della  University 
popolari.'  An  opera,  L'Innoccnte  (text  by 
himself),  was  successfully  prod,  at  Novi 
Ligure  (1896;  Bologna,  1897);  two  other 
operas,  II  Negrotnante  and  A I  Ridotto  di 
yenezia,  have  not  yet  been  prod.;  author  of 
several  libretti  (Carbonicri's  Edith,  Gibel- 
lini's  Ebles  di  Provenza,  Alberti's  Myrtilla, 
etc.);  has  written  a  Stabat  Mater,  some 
masses,  chamber-music  and  romances  {Serate 
d'inverno);  contributed  some  valuable  hist, 
essays  to  var.  journals  (//  teatro  alia  moda  di 
Benedetto  Marcello;  II  Petrarca  musicista; 
Gluck,  Algarotti  e  Wagner,  in  'Cronaca';  etc.). 

^  Angeli'nl,  Bontempi  Giovanni  Andrea, 

singer,  composer,  theorist;  b.  Perugia,  circa 
1624;  d.  near  there,  July  1,  1705.  Maestro 
in  Rome  and  Venice,  later  in  the  service  of 
the  Margrave  of  Brandenburg  and  the  Elec- 
tor of  Saxony.  His  opera  Paride,  given  in 
Dresden,  Nov.  3,  1662,  was  the  first  Italian 
opera  ever  produced  there.  He  returned  to 
Italy  in  1694.  Wrote  several  works,  among 
them  an  Historia  musica  (Perugia,  1695), 
interesting  for  the  discussion  about  the 
ancients'  ideas  of  harmony. 

Angelo'nl,  Lulgi,  b.  Frosinone,  Papal 
States,  1758;  d.  London,  1842.  Wrote  a 
valuable  monograph,  Sopra  la  vita,  le  opere 
ed  it  sapere  di  Gui:lo  d'Arrzzo,  restauratore 
delta  sciensa  dell*  arte  musica  (Paris,  1811). 

Angerer,  Gottfried,  b.  Waldsce,  Wttrtt., 
Feb.  3,  1851;  d.  Zurich,  Aug.  19,  1909. 
Studied  in  the  Cons,  at  Stuttgart  and  Frank- 
fort; Director  of  the  Mus.  Acad,  at  Zurich. — 
Works:  Ballads  for  male  chorus,  Der  letzte 
Skalde,  Sigurds  Brautfahrt,  K  d  nigs  f el  den,  Des 
Geigers  Hcimkehr,  Germanenzug,  Der  Gottes- 
dienst  des  Waldesf  GoUntreue,  Der  Konigs- 
bote,  etc. 

d*Anglebert,     Jean  -  Baptiste  -  Henri, 

a  distinguished  pupil  of  Champion,  and 
court  clavicembalist  to  Louis  XIV;  b. 
1628  (?),  d.  Paris.  Apr.  23,  1691.  Publ.  in 
1689  Pieces  de  clavecin  avec  la  maniere  de  les 
jouer,  among  which  are  22  variations  on 
Folies  d'Espagne  (varied  before  him  by 
Corelli  and  after  him  by  Scarlatti).  This 
work  shows  d'A.  to  have  been  a  master  of 
the  quaint  clavier-style  then  prevailing ;  it  is 


also  valuable  for  its  explanation  of  several 
old-fashioned  graces. 

Animuccia  [-moo'tchah],  Giovanni,  the 
distinguished  predecessor  of  Palestrina  at  the 
Vatican;  b.  Florence,  circa  1500;  d.  Rome, 
March,  1571.  From  the  circumstance  that 
.  he  wrote  the  first  Lauli  spirituali  for  the 
lectures  held  by  Neri  in  the  oratory  of  S. 
Filippo,  he  has  been  styled  the  'Father  of 
Oratorio.'  These  Laudt  were  contrapuntal 
songs  in  several  parts,  interspersed  with 
occasional  strophes  or  lines  sung  by  a  solo 
voice  for  variety's  sake;  thefirst  Dook  of  the 
Laudi  was  printed  by  Dorict  (1563),  the  sec- 
ond by  Blado  (Rome,  1570).  Other  publ. 
works  are  a  book  of  masses  (1567),  2  of 
magnificats,  a  4-part  Credo,  4  books  of  mad- 
rigals. Modern  reprints  of  a  mass  (2  movem.) 
and  a  5-part  madrigal  are  in  Torchi's  'L'Arte 
mus.  in  Italia/  vol.  i.  His  compositions  show 
a  gradual  emancipation  from  the  involved 
formalism  of  the  Flemish  school,  and  prove 
him  to  have  been  a  worthy  forerunner  of 
Palestrina.  He  was  app.  maestro  at  St. 
Peter's  in  1555. — See  Q.-Lex. 

Animuc'cia,  Paolo,  brother  of  Giovanni; 
noteworthy  contrapuntist;  was  m.  di  c.  at 
the  Lateran,  1550-52,  and  died  in  1563  in 
Rome.  Only  a  few  of  his  comps.,  found  in 
collections  of  the  time,  are  still  extant. 

d'Ankerts.    See  Dankbrs,  Ghiselin. 

Annlbale,  called  II  Padova'no  (or  Pata- 

vi'nus)  from  his  birthplace,  Padua;  b.  1527; 
d.  March,  1575;  contrapuntist;  from  1552- 
66,  organist  of  2nd  organ  at  San  Marco, 
Venice. — Publ.  1  book  of  Ricercari  a  4 
(1556),  1  book  of  madrigals  a  5  (1564),  1 
book  of  motet9  a  5-6  (1567),  1  book  of 
masses  a  5  (1573),  1  book  of  Toccate  e  Ricercari 
for  org.  (1604).  Two  Ricercari  for  organ  are 
reprinted  in  vol.  iii  of  Torchi's  'L'Arte  mus. 
in  Italia.' — See  Q.-Lex. 

An'schiitz,  Johann  Andreas,  b.  Kob- 
lenz, Mar.  19,  1772;  d.  there  Dec.  26,  1856. 
Founder,  in  1808,  of  a  mus.  society,  also  a 
school  for  vocal  and  instr.  music,  at  Koblenz. 
He  was  a  lawyer  by  profession,  but  also  a 
good  pianist  and  conductor,  and  composed 
pf.-variations  and  numerous  well-received 
vocal  works  (songs;  2  arias  for  alto;  some 
sacred  music,  etc.).— His  son, 

An'schiitz,  Karl,  b.  Koblenz,  Feb.,  1815; 
d.  New  York,  Dec.  30,  1870.  Pupil  of  Friedr. 
Schneider;  in  1844  he  assumed  the  director- 
ship of  the  music-school  founded  by  his 
father,  but  went  in  1848  to  London  (where 
he  conducted  the  Wednesday  Concerts  for  a 
time),  and  in  1857  to  N.  Y.  as  conductor  of 
Strakosch  &  Ullmann's  opera-troupe.  In 
September,  1862,  he  opened  a  season  of 
German  opera  on  his  own  account,  which 


22 


ANSORGE— APTHORP 


deserved  the  success  it  failed  to  obtain. 
From  1860-2  he  conducted  the  Arion  singing- 
society.  He  was  a  gifted  conductor  and 
cultivated  musician;  his  publ.  comps.  consist 
of  a  few  piano-pieces. 

An'sorge,  Konrad  (Eduard  Reinhold), 

pianist;  b.  Buchwald,  near  Liebau.  Silesia, 
Oct.  15,  1862;  1880-2,  pupil  of  Leipzig  Cons.; 
1885,  of  Liszt;  after  long  concert ^tours  in 
Germany,  Russia,  Austria,  and  America,  he 
settled  in  Berlin  as  a  successful  concert- 
player;  1898-1903,  teacher  in  the  Klind- 
worth-Scharwenka  Cons. — Works:  3  sonatas, 
Ballade,  Traumbilder,  Polish  Dances,  for  pf.; 
songs;  orchl.  and  chamber-music;  string- 
sextet;  2  string-quartets;  Requiem  for  m.  ch. 
and  orch. 

Antegnati  [-tan-yah'te],  Costanzo,  cele- 
brated organ-builder;  b.  Brescia,  circa  1557; 
d.  there  circa  1620.  Organist  at  Br.  cathe- 
dral. Wrote  sacred  comps.  (masses,  motets, 
psalms,  and  canzoni),  publ.  Venice,  1619-21, 
and  pieces  in  organ-tablature;  also  an  inter- 
esting and  rare  treatise,  VArte  organica 
(Brescia,  1608).- — 3  Ricercari  for  organ  are 
reprinted  in  vol.  iii  of  Torchi's  'L'Arte  mus. 
in  Italia.' 

Anti'co,  Andrea.  See  Antiquus,  Andreas. 

Antipov',  Constantin,  b.  Russia,  Jan.  18, 
1859. — Compositions  for  piano:  Op.  1,  3 
fitudes;  op.  2,  3  Valses;  op.  3,  Vars.  on  an 
original  Russian  theme;  op.  5,  5  pieces 
(the  Romance  is  fine);  op.  6,  4  pieces  (Noc- 
turne); op.  8,  2  Preludes;  op.  9,  3  Minia- 
tures (Valse);  op.  10,  Prelude;  op.  11,  Valse 
and  fetude;  op.  12,  Nocturne;  op.  13,  Im- 
promptu and  Valse; — op.  7,  Allegro  sympho- 
nique  for  orchestra. 

Anti'quis,    Johannes    [Giovanni]    de, 

maestro  di  c.  in  the  ch.  of  San  Niccolo  at 
Bari  (Naples).  Publ.  VUlaneUe  alia  Napoli- 
tana  (1574),  which  contains  a  few  pieces  by 
him;  a  coll.  of  Canzonettea  2  (1584);  and  the 
first  book  of  his  4-p.  madrigals  (Venice,  1585). 

Anti'quus,  Andreas  (also  A.  de  Anti- 
ques Vene'tus,  or  Andrea  Anti'co),    b. 

Montana  (Istria),  latter  half  of  the  15th 
century.  Music-printer  in  Rome  and  (1520) 
Venice,  probably  the  first  of*  his  trade  after 
Petrucci,  who  publ.  many  of  A.'s  Frottole 
(Venice,  1504r-8). 

Antoine,  Paul.  Pen-name  of  Ernest 
Closson. 

Anto'ny,  Franz  Joseph,  b.  Miinster, 
Westphalia,  Feb.  1,  1790;  d.  there  Jan.  7, 
1837.  1819,  music-director  at  the  cathedral; 
1832,  organist,  succeeding  his  father  (Jo- 
seph A.,  b.  Jan.  12,  1758;  d.  1836).  Publ. 
Archdologischliturgisches  Gesangbuch  des Gre- 
gorianischen  Kirchengesangs  (1829),  and  Ge- 


sckichUiche  Darstellung  der  Entstehung  und 
Vervollkommnung  der  Or  gel  (1832).  Com- 
posed church-music. 

A'pel,  Johann  August,  b.  Leipzig,  Sept. 
17,  1771;  d.  there  Aug.  9,  1816.  Dr.  juris; 
author  of  a  series  of  articles  on  rhythm 
(#Allg.  musikal.  Zeitung,'  1807-8),  and  a 
large  work,  Metrik  (1814-16,  2  vols.).  His 
Gespensierbuch  (1810-14)  suggested  to  Weber 
the  subject  of  Der  Freischiitz. 

Apell',  (Johann)  David  von,  b.  Kassel, 
Feb.  23,  1754;  d.  there  1833.  Theatre- 
Intendant,  and  Dir.  of  Kassel  Singing-Soci- 
ety; member  of  several  foreign  mus.  socie- 
ties. Prolific  composer:  4  operas,  several 
ballets  and  cantatas,  3  symphonies,  3 
quartets,  etc. 

Ap'pel,  Karl,  violinist,  b.  Dessau,  Mar. 
14,  1812;  d.  there  Dec.  9,  1895.  Pupil  of 
Linden  and  Schneider;  leader  of  the  ducal 
orchestra;  composed  an  opera,  Die  Rduber- 
braut  (Dessau,  1840),  and  very  popular 
humorous  male  quartets. 

Appunn,    Georg    (August    Ignaz),    b. 

Hanau  (Kassel),  Sept.  1,  1816;  d.  there 
Jan.  J  4,  1885;  a  musician  of  versatile  talent, 
a  player  on  almost  all  mus.  instrs.,  and  up 
to  1860  a  teacher  of  theory,  instrl.  playing, 
and  singing  in  Hanau  and  Frankfort;  then 
occupied  himself  exclusively  with  acoustical 
experiments  and  the  construction  of  acous- 
tical apparatus,  notably  an  harmonium  of  53 
degrees  within  an  octave. — His  son  Anton 
(b.  June  20,  1839;  d.  Jan.  13,  190')),  student 
in  Leipzig  Cons.,  continued  his  father's 
researches. 

Apri'le,  Giuseppe,  one  of  the  finest  con- 
tralti  of  his  time;  b.  Bisceglia  (Apulia),  Oct. 
29,  1738;  d.  Martina,  1814;  a  pupil  of  Avos, 
and  the  teacher  of  Cimarosa.  From  1763  he 
sang  in  the  principal  theatres  of  Italy  and 
Germany,  then  settling  in  Naples  as  a  sing- 
ing-master, as  which  Tie  was  famous!,  His 
vocal  method,  The  Italian  Method  of  Singing, 
with  36  Solfeggi,  first  publ.  by  Broderip 
(London).  haslseen  reprinted  in  many  edi- 
tions and  several  languages;  he  also  wrote 
vocal  music,  solfeggi,  etc. — See  Q.-Lex. 

Ap'thorp,  William  Foster,  b.  Boston, 
Mass.,  Oct.  24,  1848;  d.  Vevey  (Switzer- 
land), Feb.  19,  1913.  Writer  and  critic.  A 
student  at  Harvard,  where  he  graduated  in 
1869,  he  st.  pf.,  harm.,  and  cpt.  Under  J.  K. 
Paine  from  1863-7;  then  pf.  under  B.  J. 
Lang.  While  in  Harvard,  he  was  asst.- 
pianist  and  cymbalist  in  the  Pierian  Sodal- 
ity, and  cond.  that  society  1868-9.  Taught 
pf.  at  Boston  'National  Coll.  of  Music' 
(1872-3);  then,  until  1886,  taught  succes- 
sively pf.,  harm.,  cpt.,  fugue,  and  general 
theory  at  the  N.  £.  Cons.;  also,  for  some 


23 


APTOMMAS— ARCADELT 


years,  aesthetics  and  mus.  hist,  in  the  Coll. 
of  Mus.  o'f  Boston  Univ.  He  began  his  career 
as  music  critic  on  the  'Atlantic  Monthly' 
(from  1872-7);  was  eng.as  mus.  critic  on  the 
'Evening  Transcript*  from  1881,  also  dram, 
critic  after  1882;  contributed  many  articles 
on  music  and  drama  to  leading  periodicals; 
edited  the  'Program-books'  of  the  Boston 
Symph.  Orch.  from  1892-1901;  and  publ.  the 
following  works:  Hector  Berlioz.  Selections 
from  his  Letters  and  .  .  .  Writings  (N.  Y., 
1879);  Musicians  and  Music-lovers,  and  Other 
Essays  (N.  Y.,  1894);  Jacques  Damour,  and 
Other  Stories,  Englished  from  Zola  (Boston, 
1895);  and  By  the  Way—About  Music  and 
Musicians  (Boston,  1899).  Critical  editor  of 
Scribner's  'Cyclopedia  of  Music  and  Musi- 
cians' (N.  Y.,  1888). 

Aptom'mas,   John   and   Thomas,    two 

brothers,  b.  at  Bridgend,  England,  in  1826 
and  1829  respectively;  remarkable  harp- 
players;  both  lived  in  London  as  teachers; 
the  younger  was  from  1851-6  in  New  York. 
Compositions  elegant,  though  hardly  equal 
to  Parish- Alvars';  they  also  wrote  a  History 
of  the  Harp  (London,  1859). 

Ara,  Ugo,  b.  Venice,  July  19,  1876. 
Pupil  of  P.  A.  Tirindelli  (vl.)  at  the  Cons. 
Benedetto  Marcel lo  in  Venice;  1889,  at  age 
of  13,  member  of  orch.  at  Th.  'La  Fcnice.' 
In  1894  he  continued  his  vl.  studies  with 
Cesar  Thomson  at  the  cons,  of  Liege.  After 
a  few  months,  however,  owing  to  violinist's 
cramp,  he  was  obliged  to  give  up  playing 
altogether.  The  next  seven  years  (1894- 
1901)  he  spent  in  Vienna,  studying  comp. 
with  R.  Fuchs  at  the  Cons.  In  1902  he  was 
able  to  resume  his  playing,  and  at  the  sug- 

festion  of  Pochon,  a  fellow-student  under 
Tiomson,  he  devoted  himself  to  the  viola  in 
order  to  join  the  Flonzalcy  Quartet,  which 
was  established  in  1903,  and  has  since  won 
worldwide  recognition. 

Ara'ja,  Francesco,  opera-composer;  b. 
Naples,  circa  1700;  d.  Bologna,  circa  1770. 
His  first  opera,  Lo  matremmonejo  pe  mennetta 
(Naples,  1729),  made  his  name;  in  1735  he 
went  to  Petrograd  with  an  Italian  opera- 
troupe,  and  wrote  many  successful  operas  in 
Italian  and  Russian,  his  La  Clemenza  di  Tito 
(1751)  being  the  first  opera  written  in  the 
Russian  language.  Returned  to  Italy  in 
1759.  He  wrote  22  operas;  also  church- 
music,  and  a  Christmas  oratorio,  La  Nativitd 
di  Gesu. 

Ara'uxo  (or  Araujo)  [ah-rah'66-hoh], 
Francisco  Correa  de,  Dominican  monk  and 
eminent  Spanish  musician,  b.  circa  1581 ;  Bish- 
op of  Segovia,  where  he  died  Jan.  13,  1663. 
Wrote  the  important  treatise  Libro  de  tientos  y 
discursos  de  musica  .  .  .  intitulado:  Fa- 
cultad   orgdnica   .    .    .    (1626);   two  others, 


24 


•Casos  morales  de  la  musica ,  and  De  Versos , 
are  in  MS. 

Arban  [-bahn'],  Joseph-Jean-Baptlste- 
Laurent,  b.  Lyons,  Feb.  28,  1825;  d.  Paris, 
Apr.  9,  1889.  Virtuoso  on  the  cornet; 
teacher  at  Paris  Cons.,  cond.  of  the  music  of 
the  Opera  balls,  inventor  of  several  wind- 
instrs.  Publ.  a  Method  for  Cornet  and  Sax- 
horn; also  many  transcrs.  for  orchestra. 

Arbeau  [ar-boh'],  Toinot,  pen-name  of 
Jean  Tabourot;  b.  Dijon,  1519;  d.  Langres, 
1595  (?).  In  his  curious  Orchesographie 
(1589,  1596),  dancing,  and  playing  on  the 
drum  and  fife,  are  taught  catechetically, 
aided  by  a  kind  of  tablature;  the  work  is 
historically  valuable. 

Arbo8,  (Enrique)  Fernandez,  b.  Madrid, 
Dec.  25,  1863.  VI. -pupil  of  Monasterio  in 
Madrid,  of  Vieuxtemps  in  Brussels,  and  of 
Joachim  in  Berlin;  while  in  Brussels  st.  also 
comp.  with  Gevaert.  Began  his  career  as 
concert- master  of  the  Berlin  Philh.  Orch., 
and  made  a  successful  tour  of  the  continent; 
taught  vl.  for  a  short  time  at  the  Hamburg 
Cons.;  returned  to  Madrid  at  the  invitation 
of  the  Queen  of  Spain,  and  was  head  of  the 
vl.  dept.  of  the  cons,  there;  came  to  England 
in  1889  as  concert- master  of  the  Glasgow 
Symph.  Orch.  A  series  of  successful  con- 
certs given  in  London  in  1890  led  to  his  ap- 
pointment as  vl.  prof,  at  the  R.  C.  M.,  a 
position  which  he  still  holds;  has  appeared 
also  with  considerable  success  as  conductor 
in  London,  Liverpool,  Petrograd  and  Mos- 
cow. Since  1902,  he  has  spent  three  months 
every  year  in  Spain,  touring  that  country 
at  the  head  of  the  Madrid  Symph.  Orch.— 
Works:  A  comic  opera,  El  Centro  de  la  Tierra 
(Madrid,  1895);  3  pf.-trios;  numerous  pieces 
for  violin. 

Ar'buckle,  Matthew,  famous  American 
cornet-player  and  bandmaster;  b.  1828; 
d.  New  York,  May  23,  1883.  Wrote  Com- 
plete Cornet  Method  (Boston,  no  date). 

Ar'buthnot,  John,  British  physician;  b. 
Arbuthnot,  Scotland,  1667;  d.  London,  Feb. 
27,  1735;  app.  physician  in  ordinary  to  Queen 
Anne  in  1709.  He  was  one  of  the  founders  of 
the  Scnblerus  Club  (1714),  and  was  friendly 
to  Handel  during  the  composer's  wrangles 
with  his  opera-company;  his  'Miscellaneous 
Works  throw  sharp  side-lights  on  various 
persons  of  interest;  also  wrote  anthems. 

Ar'cadelt,  Jacob  (or  Jachet  Arkadelt, 
Archadet,  Arcadet,  Harcadelt),  distin- 
guished Flemish  composer  and  teacher-  b 
circa  1514;  d.  Paris,  after  1557.  'Maestro 
dci  putti'  to  the  Papal  Chapel  (1539),  1540 
singer  in  the  same,  in  1544  holding  the 
office  of  'Camerlihgo';  went  in  1555  with  the 
Due  de  Guise  to  Paris,  where  he  is  men- 


D'ARCHAMBEAU— ARENSKY 


tioned  in  1557  as  'Regis  musicus.'  His  Ro- 
man period  was  devoted  to  secular ,  his  Paris 
period  to  sacred  composition.  Of  his  numer- 
ous extant  works,.  6  books  of  5-part  madri- 
gals (Venice,  1538-56,  his  finest  and  most 
characteristic  comps.),  and  3  books  of 
masses  in  3-7  parts  (Paris,  1557),  are 
chief  among  those  preserved  in  print.  Modern 
reprints  include  tne  4-part  'Madrigale  par- 
lando'  //  ciel  che  rado  (Riemann;  'Hdbch.  d. 
M.-G.,  Part  II),  the  4-part  madrigal  II 
bianco  e  dolce  cigno  (Moskwa  coll.) ;  others  in 
Eitner,  vol.  xxiii,  and  Maldeghem's  'Tresor.' 
— See  Q.-Lex. 

d'Archambeau  [dar-shahn-bohl,  Ivan,  b. 
near  Liege,  Sept.  28,  1879.  He  received  his 
earliest  mus.  instruction  from  his  father,  an 
excellent  musician.  In  1895  he  began  the 
study  of  the  violoncello  with  A.  Massau. 
As  soon  as  the  boy  was  able  to  take  part  in 
quartet -playing  his  father,  solely  for  the 
purpose  of  artistic  recreation,  formed  & 
family  quartet,  consisting  of  himself  and  his 
three  sons,  Ivan  being  the  'cellist.  In  1899 
d'A.  won  the  gold  medal  at  the  Cons,  of  Ver- 
viers,  and  then  went  to  fidouard  Jacobs  at 
Brussels.  Having  completed  his  studies 
under  Hugo  Becker  at  Frankfort,  he  made, 
in  1903,  a  successful  tour  of  Germany,  Bel- 
gium and  Scotland.  Pochon  then  persuaded 
him  to  abandon  the  virtuoso  career  to  be- 
come a  member  of  the  Flonzaley  Quartet. 

d'Archambeau,  Jean-Michel,  composer; 
b.  Herve,  Belgium,  Mar.  3,  1823;  d.  Ver- 
viers,  August,  1899.  In  1838,  teacher 
of  music  at  Herve  College;  1848,  organist  at 
Petit- Rechain. — Works:  1  operetta,  2  masses 
for  3  men's  voices,  12  litanies,  7  motets;  also 
several  Romances  sans  paroles  for  pf. 

Archangel'sky,    Alexander,    b.    in    the 

Russian  province  of  Pensa,  Oct.  23,  1846. 
Cond.  church-choirs  from  his  16th  year,  and 
in  1880  organized  a  chorus  of  his  own  with 
which  he  toured  Europe.  He  was  the  first 
to  substitute  women  for  boys  in  the  vocal 
music  of  the  Russian  Church — an  experiment 
widely  copied.  He  has  publ.  2  masses,  a 
Mass  for  the  Dead,  and  numerous  a  cappella 
choruses. 

Archer,  Frederick,  organist;  b.  Oxford, 
England,  June  16,  1838;  d.  Pittsburgh,  Oct. 
22,  1901.  Taught  by  his  father;  also  studied 
in  London  and  Leipzig.  Organist,  conductor, 
and  opera-director  in  London;  went  to  New 
York  in  1881,  and  became  org.  of  Plymouth 
church,  Brooklyn,  later  of  the  Ch.  of  the 
Incarnation,  N.  Y.  In  1885,  founded  the 
mus.  weekly,  'The  Key-Note,'  of  which  he 
was  the  editor;  1887,  conductor  of  Boston 
Oratorio  Society.  From  1895-98,  conductor 
of  the  Pittsburgh  (Pa.)  Orchestra;  succeeded 
by  Victor  Herbert. — Works:  Publ.  a  cantata, 


25 


King  Witlafs  Drinking-horn;  pieces  for  organ 
and  pf.;  songs,  part-songs,  etc.  Wrote  The 
Organ,  theoretical  text-book;  and  The  College 
Organist. 

Ardl'ti,  Luigi,  b.  Crescentino,  Piedmont, 
July  16  [ace.  to  his  autobiography],  1822; 
d.  Hove,  near  Brighton,  England,  May  1, 
1903.  Pupil  of  Milan  Cons,  till  1842,  his 
opera,  /  Briganti,  being  a  student-production. 
Began  his  career  as  a  violinist;  became  di- 
rector of  opera,  and  honorary  member  of  the 
Accademia  Filarmonica  at  Vercelli  in  1843, 
going  thence  to  Milan,  Turin,  and  Havana 
as  an  opera-conductor.  In  1847,  '48,  '50, 
etc.,  he  visited  New  York  with  the  Havana 
opera-company;  conducted  the  performance 
at  the  opening  of  the  N.  Y.  Acad,  of  Music 
in  1854.  Finally  left  America  in  1856,  going 
to  Constantinople,  and  thence  to  London, 
where  he  settled  in  1858,  as  conductor  of 
Her  M.'s  Theatre,  and  resided  there  as  a 
well-liked  teacher  and  composer.  He  also  led 
a  campaign  of  Italian  opera  in  Germany,  at 
Petrograd  (1871  and  73),  and  (for  some 
years)  annually  at  Vienna,  from  1870.  He 
acted  as  conductor  in  various  London  the- 
atres up  to  1895.  His  operas,  I  Briganti,  II 
Corsarof  La  Spia  (first  prod.  New  York, 
1856),  had  fair  success;  but  his  best  and 
most  popular  comps.  are  his  numerous  songs, 
especially  the  vocal  waltzes  (//  Bacio,  L'Ar- 
diti,  Le  Tortorelle,  etc.).  Wrote  My  Remi- 
niscences (London,  1896).  He  was  a  virtuoso 
on  the  piano. 

Ardi'ti,  Michele,  Marchesc;  b.  Presicca, 
Naples,  Sept.  29,  1745;  d.  Naples,  Apr.  23, 
1838.  Archaeologist  and  amateur  composer, 
pupil  of  Jommelli;  wrote  1  opera,  Olimpiade; 
also  sacred  and  secular  cantatas,  motets,  sym- 
phonies, overtures,  arias  w.  orch.,  pf  .-sonatas, 
etc. 

Arena,  Franz  Xavier,  b.  Neef  (Rhenish 
Prussia),  Oct.  28,  1856.  ^  Came  to  America  in 
early  youth;  pupil  of  his  father  and  Singen- 
berger  of  Milwaukee;  also  st.  in  Germany 
w.  Rhcinbergcr,  Wiillner,  Abel,  Janssen,  and 
Kirchner;  conductor  of  Cleveland  'Gesang- 
verein'  and  Philh.  Orch.  (1885-8);  1890-92  in 
Europe,  giving  American  composers  concerts. 
In  1900  he  establ.  the  People's  Symph.  Con- 
certs in  N.  Y.  to  furnish  good  music  at  a 
nominal  price  \o  the  poorer  classes.  The 
success  of  these  orch.  concerts,  conducted  by 
A.  personally,  gradually  led  to  the  inclusion 
of  chamber-music  concerts  by  the  Kneisel 
Quartet,  etc.,  and  the  movement  has  been 
extended  to  several  of  the  larger  Eastern 
cities. 

Aren'sky,  Anton  Stepanovitch,  Russian 
comp.  and  pianist;  b.  Novgorod,  July  31, 
1861;  d.  in  a  sanatorium  at  Tarioki,  Fin- 
land,  Feb.   26,    1906,   after  a  long  illness. 


ARIA— ARISTOTELES 


From  1879-82,  pupil  of  Johansson  and  Rim- 
sky-  Korsakov  at  Petrograd  Cons.;  in  1882 
he  was  app.  prof,  of  harm,  and  comp.  at  the 
Imp.  Cons.,  Moscow,  and  in  1895  succeeded 
Bafakirev  as  conductor  of  the  Imp.  Court 
Choir  at  Petrograd,  resigning  1901.  Aren- 
sky's  muse  was  lyrical  rather  than  dramatic; 
some  smaller  pf. -pieces  are  peculiarly  delight- 
ful. 'In  his  tendency  as  a  comp.  he  more 
nearly  approaches  Tchaikovsky  than  the 
radical  young  Russian  school/  [Riemann]. — 
Works:  3  operas:  A  Dream  on  the  Volga  (op. 
16;  Moscow,  1892),  Raphael  (op.  37;  Moscow, 
*94),  Nal  and  Damajanti  (op.  47;  Petrograd, 
'99);  music  to  Pushkin's  poem  The  Fountain 
of  Bakhtchissarai,  for  solo,  ch.  and  orch.  (op. 
46);  ballet  Nuit  d*£gypte  (op.  50;  Petrograd, 
1900);  The  Diver,  ballade  for  solo,  ch.  and 
orch.  (op.  61);  ballade  The  Wolves,  for  bass 
voice  with  orch.  (op.  59) ;  festival  Coronation 
Cantata  (op.  25);  2  symphonies  (op.  4,  in 
B  min.;  op.  22,  in  A);  Marche  solennelle  for 
orch.  (op.  18) ;  Intermezzo  for  string-orch.  (op. 
13);  vln.-concerto  in  A  min.  (op.  54);  pf.- 
concerto  (op.  2);  Fantaisie  on  epic  Russian 
songs,  for  pf.  with  orch.  (op.  49) ;  4  Suites  for 
2  pfs.  4  hands  (op.  15,  23,  33,  62;  also  orches- 
trated by  the  comp.);  pf. -quintet  in  D  (op. 
51);  2  string-quartets  (op.  11,  in  G;  op.  35, 
in  A  min.,  the  latter  for  vln.,  via.  and  2  'colli); 
a  pf.-trio  in  D  min.  (op.  32);  pieces  for  'cello 
and  pf.  (op.  12,  56),  and  for  vln.  and  pf.  (op. 
30) ;  many  pieces  for  solo  pf.  (op.  1,  6  canons; 
op.  5,  6  pieces;  op.  19,  3  pieces;  op.  20,  Bigar- 
rures;  op.  24,  3  Esquisscs;  op.  25,  4  Morceaux; 
op.  28,  Essais  sur  des  rythmes  oubliis;  op.  34, 
Pieces  enfantines  [orig.  for  pf.  4  hands];  op. 
36,  24  Morceaux;  op.  41,  4  Etudes;  op.  42,  3 
pieces;  op.  43,  6  Caprices;  op.  52,  o  pieces, 
Pres  de  la  met;  op.  63,  12  Preludes  for  pf.  4 
hands;  op.  65,  Children's  Suite;  op.  66,  12 
pieces);  pieces  for  vocal  ensemble;  numerous 
songs. — Also  publ.  a  Manual  of  Harmony 
(transl.  into  German),  and  a  Handbook  of 
Musical  Forms. 

A'ria,  Cesare,  b.  Bologna,  Sept.  21,  1820; 
d.  there  Jan.  30,  1894.  St.  piano  and  theory 
with  Gius.  Pilot ti;  later  in  Bol.  Cons,  under 
P.  Mattei.  A  favorite  of  Rossini.  Lived 
for  some  years  in  France  and  England  as 
teacher  of  singing,  pf.,  and  comp.;  1840, 
music-director  of  tne  Tea-tro  Comunalc, 
Bologna;  1850,  President  of  the  Accademia 
Filarmonica.  Composed  fine  church-music  (a 
Dies  irae  is  particularly  noteworthy). 

AriTx)  Scholas'tlcu8,  probably  a  native 
of  the  Low  Countries;  d.  circa  1078.  Wrote 
a  valuable  treatise.  Musica^  [printed  in  Ger- 
bert's  'Scriptores,  vol.  ii],  containing  a 
commentary  on  Guido  d'Arezzo's  writings. 

d'Arien'zo,  Nicola,  dramatic  comp.;  D# 
Naples,   Dec.   23,    1842;   pupil  of    Labriola 


26 


(pf.),  Fiora vanti  and  Moretti  (cpt.),  and 
Mercadante  (comp.);  1879,  director  of  the 
R.  Cons.,  Naples,  in  which  he  was  prof,  of 
cpt.  and  comp.  from  1877  _  (pupils,  van 
Westerhout,  LeoncavalloJ. — First  operas  (in 
Neapol.  dialect),  MonzU  Gnazio  o  La  Fidan- 
tata  del  Parrucchiere  (Naples,  1860),  and  / 
due  Mariti  (Naples,  1866),  were  succ;  others 
are  he  Rose  (1868),  II  Cacciatore  delle  Alpi 
(1870),  II  Cuoco  (1873),  /  Viaggt  (Milan, 
1875),  La  Fitfia  del  Diavolo  (Naples,  1879; 
severely  criticised  for  a  straining  after  realistic 
and  original  effect),  /  tre  CoscriUi  (Naples, 
1880),  La  Fiera  (1887),  Pita  di  Lister  (MS.), 
etc.  Also  wrote  an  oratorio,  II  Cristo  sulla 
croce,  a  Pensiero  sinfonico,  overtures,  some 
vocal  music  (4  Nocturnes),  and  pf. -pieces; 
and  a  manual,  Vinvenzione  del  sistema  tetra- 
cordo  e  la  moderna  musica  (1879),  favoring 
pure  intonation  instead  of  equal  tempera- 
ment,- and  discriminating  a  3rd  mode  (of  the 
Minor  Second)  besides  the  usually  accepted 
Major  and  Minor  modes;  also,  Scuola  di 
composizione  musicale  (1899),  and  several 
important  histor.  treatises:  Un  predecessore 
di  Aless.  Scarlatti  (1891;  on  Gesualdo  [di 
Venosa]);  DtlV  opera  comica  dalle  origini  a 
G.  B.  Pergolesi  (1887:  Ger.  transl.  by  F. 
Lugscheider,  1902) ;  II  melodrammadaUe  origini 
al  secolo  X  VIII  (1900);  La  musica  in  Napoli 
(1900);  Die  moderne  Oper  (1902,  in  'Deutsche 
Thalia'). 

Arioa'ti,  Attilio,  b.  Bologna,  Nov.  5, 
1666;  d.  circa  1740;  composer  of  25  operas, 
the  first  of  which,  Dafne,  was  given  at 
Venice  (1686);  1697-1703  court  Kapellm. 
at  Berlin,  and  for  a  short  time  the  teacher 
of  Handel;  1715-16  in  London,  and  again 
1720-27,  as  a  rival  of  Bononcini,  both  being 
for  a  while  competitors  with  Handel  for 
public  favor,  and  both  defeated  by  his 
genius;  in  1720  these  three  composed  the 
opera  Muzio  Scevola  in  company,  each  taking 
one  act.  In  1727  Ariosti  returned  to  Italy, 
and  died  in  obscurity.  He  also  wrote  an 
oratorio,  a  volume  of  cantatas,  and  some 
'lessons'  for  the  viola  d'amore,  on  which  he 
was  an  accomplished  performer. — See  Q.-Lex. 

Aristi'des  Quintilia'nus,  a  Greek  writer 
on  music  circa  a.d.  160;  a  teacher  of  music  at 
Smyrna,  and  celebrated  from  his  work  De 
Musica  libri  VII  [printed  in  Mcibom's  'An- 
tique Musicae  Auctores  Septem'  (1652)];  re- 
pnnted  by  Jahn  (1882). 

Aristo'teles  (Aristotle),  (1)  b.  Stagyra 
(Macedonia),  384  B.C.;  d.  322  n.c.;  a  Greek 
philosopher,  pupil  of  Plato.  The  19th  sec- 
tion of  his  Problems  affords  valuable  informa- 
tion concerning  the  Greek  system  of  music; 
further  remarks  arc  found  in  Book  viii  of  the 
Politica  and  in  the  Poetica. — (2)  Pseudonym 


ARISTGXENOS— ARNE 


of  a  writer  on  mensurable  music  of  the  12th— 
13th  centuries. 

Aristox'enos,  b.  Tarentum,  circa  354  B.C.; 
one  of  the  earliest  Greek  writers  on  music. 
His  Harmonic  Elements  (complete)  and 
Rhythmical  Elements  (fragmentary)  are  the 
most  important  treatises  on  Greek  music 
that  are  left  us,  excepting  certain  essays  by 
Plato  and  Aristotle.  Publ.  (1868)  by  P. 
Marquand,  text  German  and  Greek,  with 
commentaries.  Also  cf .  Oscar  Paul,  Boethius 
u.  die  griechische  Harmonik,  and  Absol. 
Harm,  der  Griechen;  C.  F.  A.  Williams,  The 
Aristoxenian  Theory  of  Musical  RhyPtm 
(Cambridge,  1911). 

Arkwright,    Godfrey    Edward    Pellew, 

musicologist;  b.  Apr.  10,  1864.  Editor  of 
•The  Old  English  Edition*  (25  vols.,  1889- 
1902;  containing  masques,  ballets,  motets, 
madrigals,  etc.,  by  Engl,  composers  of  the 
17th  and  18th  centuries);  also  edited  some 
of  Purcell's  works  in  the  ed.  publ.  by  the 
Purcell  Society  (1889-1902);  editor  of  'The 
Musical  Antiquary*  from  1909-13. 

Arm'brust,  Karl  F.,  fine  organist;  b. 
Hamburg,  March  30,  1849;  d.  Hanover,  July 
7,  1896.  St.  Stuttgart  Cons.  (Faiszt) ;  1869, 
org.  of  St.  Peter's  ch.r  Hamburg.  Teacher 
of  org.  and  pf.  at  H.  Cons.  Musical  critic 
(H.  'Fremdenblatt'). 

Arm'bruster,  Karl,  b.  Andernach-on- 
Rhine,  July  13,  1846;  pupil  of  Hompesch  at 
Cologne.  Precocious  pianist;  settled  in 
London,  1863.  An  influential  admirer  of 
Wagner,  he  has  done  much  to  spread  the 
Wagner  cult  in  England  by  means  of  nu- 
merous lectures;  was  Hans  Richter's  asst.- 
cond.  at  the  Wagner  Concerts  of  1882-4; 
then  cond.  at  the  Royal  Court  Th.,  later  at 
the  Haymarket  and  Drury  Lane;  cond. 
Tristan  und  Isolde  in  1892  at  Covent  Garden; 
1884-94,  one  of  the  conds.  at  Bayreuth. 
1901-13,  musical  adviser  to  the  London 
County  Council. 

Armes,  Philip,  b.  Norwich,  Engl.,  Aug. 
15,  1836;  d.  Durham,  Feb.  10,  1908.  Chor- 
ister at  Norwich  and  Rochester  cathedrals; 
articled  at  the  latter  to  Dr.  Hopkins  in  1850, 
and  asst .-organist  till  1856;  org.  of  Chichester 
cath.  in  1861;  in  1862,  of  Durham  cath.;  in 
1897,  Queen  Victoria  Lecturer  at  Trinity 
Coll.,  London,' and  prof,  of  music  at  Durham 
Univ.  He  was  Mus.  Doc.  of  Oxford  and 
Durham;  F.  R.  C.  O.  (1892);  etc.— Works: 
Oratorios  Hetekiah  (Newcastle-on-TM  1877); 
St.  John  the  Evangelist  (Leeds,  1881);  St. 
Barnabas  (Durham,  1891);  communion  serv- 
ices, anthems,  etc.  His  5-part  madrigal 
Victoria  won  the  first  (Molineux)  prize  of  the 
Madr.  Soc.,  1897. 


Armlngaud  [-man-goh'],  Jules,  b.  Bay- 
onne,  May  3, 1820;  d.  Paris,  Feb.  27, 1900;  one 
of  the  best  violinists  of  Paris,  who  was  refused 
admission  to  the  Cons,  when  19  because  he 
was  'too  far  advanced';  orchestra-player  at 
the  Grand'  Opera,  and  leader  of  a  famous 
string-quartet  later  enlarged  by  adding  some 
wind-instrs.,  and  called  the  SocicU  classique. 
He  was  the  reputed  introducer  of  Beet- 
hoven's quartets  into  Parisian  mus.  circles; 
publ.  some  violin-pcs. 

Armshelmer,  Ivan  Ivanovitch,  b.  Petro- 
grad,  Mar.  19,  1860;  pupil  of  Czerny,  Johann- 
sen,  and  Rimsky-Korsakov  at  the  Petrograd 
Cons. — Works:  The  operas  Sous  la  feuilUe 
(1  act,  French);  J&gerliv  (3  acts,  Danish); 
Der  Oberforster  (2  acts,  German);  the  ballets 
The  Poor  Bride,  In  the  New  World,  and  Halt 
of  the  Cavalry;  2  cantatas,  numerous  pieces 
f.  ch.  and  orch.;  a  Suite  f.  flute  w.  pf.;  pieces 
f.  vln.,  and  f.  'cello;  over  150  songs;  wrote 
also  an  elaborate  treatise  on  Instrumentation. 

Armstrong,  William  Dawson,  organist 
and  composer;  b.  Alton,  III.,  Feb.  11,  1868. 
Pupil  of  E.  R.  Kroeger  (comp.)  and  Clarence 
Eddy  (org.).  Organist  at  St.  Paul's  P.  E. 
Ch.,  Alton,  1890-96;  Ch.  of  the  Redeemer, 
St.  Louis,  1896-1900;  Ch.  of  the  Unity, 
St.  Louis,  1900-8.  Instructor  Forest  Park 
Univ.,  St.  Louis,  1888-90;  Western  Military 
Academy,  1898-1908;  since  1908  dir.-of  his 
own  mus.  school  at  Alton.  Was  solo  organist 
St.  Louis  World's  Fair,  1903;  Pres.  '111.  State 
Music  Teachers'  Assn.,'  1899-1901;  V.-Pres. 
'Nat.  Music  Teachers'  Assn.,'  1904-5;  Pres. 
Mus.  Section  '111.  State  Teachers'  Assn.,' 
1902-3;  Assoc.,  'Amer.  Guild  of  Org.';  Mem. 
of  'Societe  des  Auteurs  et  Compositeurs  de 
Musique,'  Paris. — Works:  An  opera,  The 
Spectre  Bridegroom  (St.  Louis,  1899);  Suite 
de  Ballet,  for  orch.  (1897);  Overture  From 
the  Old  World;  over  100  smaller  works  for 
org.,  pf.,  vl.,  and  songs. — Cf.  W.  F.  Norton, 
W.  D.  A.  (N.  Y.,  1916). 

Arnaud  [-noh'],  Abbe  Francois,  theo- 
retical writer;  b.  Aubignon,  near  Carpentras, 
July  27,  1721;  d.  Paris,  Dec.  2,  1784;  wrote 
many  essays  on  miscellaneous  mus.  subjects 
(Collected  Writings,  Paris,  1808,  3  vols.). 
In  the  Memoir es  pour  servir  d  I'histoire  de  la 
revolution  operee  dans  la  musique  par  M.  le 
Chevalier  Gluck,  he  warmly  espouses  the 
great  reformer's  principles.  Cf.  E.  de 
Bricqueville,  Fr.  A.  (Paris,  1833). 

Arne,  Michael,  natural  son  of  Dr.  Arne, 
b.  London,  1741;  d.  there  Jan.  14,  1786  [not 
1806];  a  clever  dramatic  composer  (9  operas, 
the  best  being  Cymont  1767);  writer  of  a 
number  of  songs,  and  a  skilful  player  on  the 
harpsichord.  In  1779,  music^director  at 
Dublin  Theatre;  from  1784  onward  he  con- 
ducted  some   of   the   Lenten   oratorios   at 


27 


ARNE— ARNOLD 


London  theatres.  A  curious  episode  in  his 
career  was  his  search  for  the  philosopher's 
stone  (c.  1768),  during  which  he  neglected 
his  profession  and  ruined  himself  pecuniarily. 

Arne,  Thomas  Augustine,   one  of  the 

foremost  of  English  composers;  b.  London, 
March  12,  1710;  d.  there  March  5,  1778. 
By  dint  of  stolen  nightly  practice  he  became 
a  fine  player  on  the  spinet  and.  violin,  in 
despite  of  his  father's  wishes  that  he  should 
study  law;  the  latter  finally  yielded  to  the 
inevitable,  and  Arne,  free  to  pursue  his  mus. 
work,  set  to  music  various  texts — Addison's 
Rosamottd  and  Field's  Tragedy  of  Tragedies 
(1733);  a  masque,  Dido  and  Mneas  (1734); 
and  Zara  (1736).  In  1736  he  married 
Cecilia  Young,  a  fine  singer  and  a  prime 
favorite  of  Handel's.  In  1738,  as  composer 
to  the  Drury  Lane  Th.,  he  set  Dal  ton's 
adaptation  of  Comus  to  music,  a  composition 
which  firmly  established  his  reputation.  The 
music  to  the  masque  of  Alfred  (1740)  con- 
tains, among  other  fine  songs,  the  celebrated 
Rule,  Britannia.  While  residing  in  Dublin 
(1742-4)  he  brought  out  2  new  operas, 
Britannia  and  Eliza,  and  the  musical  farce 
Thomas  and  Sally.  He  became  comp.  to 
Vauxhall  Gardens,  London,  in  1745.  Further 
dramatic  works  were  Congreve's  masque, 
The  Judgment  of  Paris  (1740),  Colin  and 
Phoebe  (1745),  Artaxerxes  (1762),  Olympiad 
(1765),  and  the  music  to  Mason's  Caractacus 
(1776);  also  settings  for  songs  in  As  You 
Like  it  and  'Where  the  Bee  Sucks'  in  The 
Tempest;  etc.  His  2  oratorios  are  Abel  (1755) 
and  Judith  (1761).  Dr.  A.  was  the  first  to 
introduce  female  voices  into  oratorio-choruses 
(Judith).  Besides  the  above,  he  composed 
numerous  minor  texts,  and  wrote  orch.  over- 
tures, vln.-sonatas,  organ-music,  harpsich.- 
sonatas,  many  songs,  glees,  catches,  canons, 
and  the  like.  With  the  exception  of  2  years 
in. Dublin,  A.  lived  continuously  in  London 
as  a  composer  and  concert-giver;  he  was 
created  Mus.  Doc.  (Oxon.)  in  1759.  The 
London  'Musical  Times'  for  Nov.  and  Dec, 
1901,  contains  a  sketch  of  his  life  and  a 
fairly  complete  list  of  his  compositions. — Sec 
Q.-Lex. 

d'Arne'iro,  (Jose*  Augusto)  Ferreira 
Veiga,  Viscount,  distinguished  Portuguese 
composer,  b.  Macao,  China,  Nov.  22,  1838; 
d.  San  Remo,  July,  1903;  pupil  (1859)  of 
Botelho  (harm.),  Schira  (cpt.  and  fugue),  and 
Soares  (pf.),  at  Lisbon.  Wrote  the  ballet 
Ginn  (1866);  2  operas,  VElisire  di  giovinezza 
(Lisbon,  1876)  and  La  Derelitta  (ib.,  1885); 
and  a  Te  Deum  (his  chief  work),  performed 
Lisbon,  1871,  and  later  in  Paris  under  the 
modern  and  much-affected  title  of  Sym- 
phonie-Cantate. 


Arnold,  Johann  Gottfried,  violon- 
cellist and  composer;  b.  Niedernhall,  n. 
Ohringen,  Feb.  15,  1773;  d.  Frankfort,  July 
26,  1806.  Pupil  of  Romberg  and  Willmann; 
after  concert-tours  in  Germany  and  Switz- 
erland, he  was  app.  1st  'cellist  at  Frankfort 
Th. — Works:  Symphonia  concertante  f.  2 
flutes  w.  orch.;  5  'cello-concertos;  6  sets  of 
vars.  f.   'cello   (op.  9);  pieces  f.  guitar;  etc. 

Arnold,  Karl,  b.  Neukirchen,  n.  Mergent- 
heim,  Wtirttemberg,  March  6,  1794;  d.  Chris- 
tiania,  Nov.  11,  1873.  Pupil  of  A.  Schmitt, 
J.  A.  Andre,  and  Karl  Vollweiler,  at  Frank- 
fort; fine  pianist;  lived  successively  at  Petro- 
grad  (1819),  Berlin  (1824),  Minister  (1835), 
and  Christiania  (1849),  where  he  conducted 
the  Philh.  Soc..  and  was  org.  of  the  principal 
church. — Works:  an  opera,  Irene  (Berlin, 
1832);  pf. -sextet,  and  sonatas,  variations, 
fantasias,  etc.,  for  pf. 

Arnold(-Strothotte),  Maurice,  b.  St. 
Louis,  Jan.  19,  1865.  He  received  his  first 
instruction  from  his  mother,  and  then  at- 
tended the  Cincinnati  Coll.  of  Mus.  (1880-3); 
st.  in  Berlin  with  Vicrling  and  Urban,  at 
Cologne  Cons,  with  Wullner,  Neitzel  and 
G.  Jensen,  and  finally  in  Breslau  with  Max 
Bruch;  returned  to  St.  Louis,  where  he 
estab.  himself  as  teacher,  vlst.  and  cond.  of 
light  opera.  In  1894  a  perf.  of  his  American 
Plantation  Dances  f.  orch.  in  New  York 
aroused  the  interest  of  Dvorak  (at  that  time 
dir.  of  the  Nat.  Cons.)  in  the  possibilities  of 
negro-melodies,  and  he  offered  A.  a  position 
as  instr.  of  comp.  at  the  Cons.;  since  then 
A.  has  been  living  in  New  York,  with  the 
exception  of  one  season,  when  he  was  cond. 
at  the  Princess  Th.,  London,  and  of  another 
season,  touring  Germany;  since  1905  dir.  of 
'Progressive  Stage  Soc.,'  N.  Y. — Works:  The 
Wild  Chase,  cantata;  a  symphony  in  F  min.; 
Dramatic  Overture;  Danse  de  la  Midway 
Plaisance  and  Turkish  March,  for  orch.;  so- 
nata for  vl.  and  pf.  in  E  min.;  Minstrel  Sere- 
nade for  vl.  and  pf.;  a  fugue  for  pf.  (8  hands); 
numerous  pes.  for  pf.  (Caprice  espagnol,  Ban- 
joenne,  etc.);  songs.  A  comic  opera,  The 
Merry  Benedicts,  was  prod,  in  Brooklyn 
(1896);  has  in  MS.  another  comic  opera  and 
a  grand  opera,  Cleopatra. 

Arnold,  Richard,  excellent  violinist;  b. 
Eilenberg,  Prussia,  Jan.  10,  1845.  Went  to 
the  United  States  in  1853;  returned  to 
Europe  in  1864  to  study  under  Ferd.  David 
at  Leipzig;  from  1869-76,  first  violin  in  Theo- 
dore Thomas's  orch.;  1878-91,  leader  and 
solo  violin  in  the  N.  Y.  Philharm.  Club; 
elected  member  of  the  Philharm.  Soc.  in 
1877;  concert-master,  1880-1909;  vice-presi- 
dent in  1896.  Organized  the  R.  Arnold 
String  Sextet  in  1897.  Living  in  New  York 
as  a  concert-violinist  and  teacher. 


28 


ARNOLD— ARRIGONI 


Arnold,  Samuel,  b.  London,  Aug.  10, 
1740;  d.  there  Oct.  22,  1802;  educated  by 
Gates  and  Nares  as  a  chorister  of  the  Chapel 
Royal,  he  early  showed  a  gift  for  composi- 
tion, and  in  1763  was  commissioned  to  write 
an  opera  for  Covent  Garden — The  Maid  of 
the  ^  MUl — successfully  produced  in  1765. 
This  was  followed,  up  to  1802,  by*  49  stage- 
pieces  (operas,  mus.  after-pieces,  and  panto- 
mimes). His  first  oratorio,  The  Cure  of  Saul, 
came  out  in  1767;  Abimelech,  The  Resurrec- 
tion, The  Prodigal  Son,  and  Elijah,  followed 
in  the  order  given.  He  took  the  degree  of 
Mus.  Doc.  (Oxon.)  in  1773,  and  in  1783 
succeeded  Dr.  Nares  as  organist  and  com- 
poser to  the  Chapel  Royal,  for  which  he 
composed  several  services  and  anthems.  In 
1789  he  was  app.  conductor  of  the  Acad,  of 
Ancient  Music;  in  1793,  organist  of  West- 
minster Abbey.  His  edition  of  Handel's 
works,  begun  in  1786,  embraces  36  vols.,  but 
is  incomplete  and  not  free  from  errors.  His 
principal  work,  "Cathedral  Music'  (1790,  4 
vols.),  is  a  collection  in  score  of  the  finest 
cathedral  services  by  English  masters  of  2 
centuries,  forming  a  sequel  to  Boyce's  work 
of  like  name;  republ.  by  Rimbault  (1847). — 
See  Q.-Lcx. 

Arnold,  Yourij  von,  b.  Petrograd,  Nov. 
13, 1811;  d.  Karakash,  n.  Simferopol,  Crimea, 
July  20,  1898;  a  student  and  soldier,  who  in 
1838  devoted  himself  wholly  to  music;  Fuchs 
(harm.)  and  Gunke  (cpt.)were  his  teachers. 
He  comp.  a  grand  opera,  The  Last  Days  of 
Pompeii;  an  operetta;  a  prize  cantata  Swat- 
lana;  and  2  overtures.  After  1840  he  wrote 
for  various  newspapers;  lived  in  Leipzig 
1863-70  on  the  staff  of  the  'Neue  Zeitschrift 
f.  Musik,'  also  publ.  (1867-8)  a  'Neue  allg. 
Zeitschrift  f.  Theater  u.  Musik.1  Resided 
1870-94'  in  Moscow,  where  he  opened  a 
music-school,  and  lectured  on  mus.  history 
at  the  Univ.  in  1888;  from  1894  in  Petrograd, 
as  singing- teacher. — Chief  writings:  Die  alien 
Kirchenmodi,  historisch  u.  akustisch  entwickelt 
(Leipzig,  1878);  Theory  of  the  Old-Russian 
Church-  and  Folk-Song  (Russian,  in  Moscow); 
Harmonization  of  Old-Russian  Church-Song 
(Russian;  Moscow,  1886);  various  treatises 
on  the  Neumes;  etc. — Publ.  3  vols,  of 
Memoirs  (Moscow,  1892). 

Ar'noldaon,  Sigrld,  dramatic  soprano,  b. 
Stockholm,  Sweden,  Mar.  20,  1861;  daughter 
of  Oscar  A.,  the  celebrated  tenor  (b.  1843 
[?1,  d.  Stockholm,  1881).  Pupil  of  Maurice 
Strakosch  and  Desiree  Artot.  Debut  1886, 
at  Moscow,  as  Rosina  in  Rossini's  II  Bar- 
biere  di  Siviglia;  then  sang  as  prima  donna 
in  Petrograd  and  in  London  (Drury  Lane) 
with  brilliant  success;  1887,  in  Amsterdam 
and  The  Hague,  then  in  Paris  (Opera- 
Comique),  Nice,  and  Rome;  1888,  eng.  at 


29 


Covent  Garden,  London,  as  successor  of  the 
Patti.  In  1889  she  excited  indescribable 
enthusiasm  in  Moscow  and  Zurich.  In  1894 
she  was  heard  at  the  M.  O.  H.;  in  May, 
1898,  she  was  at  the  Royal  Opera  in  Pest; 
in  Oct.  she  sang  in  Amsterdam  at  the  Dutch 
Opera  with  marked  success.  She  married 
Alfrecl  Fischhof  (nephew  of  the  pianist, 
Robert  F.),  and  resides  in  Paris.  In  1910 
she  was  elected  member  of  the  Stockholm 
Academy. — Chief  roles:  Rosina,  Dinorah, 
Sonnambula,  Mignon,  Cherubin,  Zerlina, 
Traviata. 

Arnould  [ar-noold'J,  (Madeleine-)  Sophie, 

b.  Paris,  Feb.  14,  1744;  d.  there  Oct.  18, 
1802.  Famous  soprano  stage-singer,  pupil 
of  Mme.  Fel  and  (for  acting)  Mile.  Clairon. 
Debut  Dec.  15,  1757,  at  the  Opera,  where 
she  remained  a  prime  favorite  till  1778.  She 
created  the  title-r6le  in  Gluck's  IphigSnie  en 
Aulide  (Apr.. 19,  1774).— Cf.  R.  B.  Douglas, 
Sophie  Arnould,  Actress  and  Wit  (Paris, 
1898);  also  the  Arnouldiana. 

Aron.    See  Aaron. 

Arquier  [ahr-kya'J,  Joseph,  b.  Toulon, 
1763;  d.  Bordeaux,  October,  1816.  St.  in  Mar- 
seilles; 1784,  'cellist  in  Lyons  Th.  orch.;  '89, 
in  Marseilles,  '90  in  Paris.  About  1800,  he 
went  to  New  Orleans  as  director  of  an  opera- 
troupe,  but  failed  and  returned  to  France  in 
1804,  holding  various  positions  in  Paris, 
Toulouse,  Marseilles,  and  Perpignan;  he  died 
in  poverty. — Works:  16  operas,  mostly  comic. 

Arria'ga  y  Balzola,  Juan  Crisostomo 
Jacobo  Antonio  de,  b.  Bilbao,  Jan.  27, 
1806;  d.  Feb.,  1825.  Brilliant  violinist;  pupil 
of  Guerin  and  Fetis  at  Paris  Cons.  (1821); 
in  1824,  repetiteur  there  for  harmony  and 
cpt. — Publ.  works:  3  string-quartets. 

Arrie'ta  y  Corera,  Pascual  Juan  Emi- 

Uo,  b.  Puente  la  Reina  (Spain),  Oct.  21, 
1823;  d.  Madrid,  Feb.  12,  1894.  St.  under 
Vaccai  at  Milan  Cons.  (1842-5);  returned  to 
Spain,  1848;  in  1857,  app.  prof,  of  comp.  at 
•Madrid  Cons.;  1868,  Director;  1875,  Coun- 
cillor in  Ministry  of  Instruction. — Dramatic 
composer:  Opera  Ildegonda  (Milan  Cons.  Th., 
1845),  followed  by  about  50  zarzuclas  and 
operas,  the  most  ambitious  being  Isabel  la 
Catolica  o  sea  la  conquista  de  Granada  (Madrid, 
1850).  Chief  success  as  writer  of  zarzuelas, 
the  Spanish  comedy-operas. 

Arri'go  Tedeaco  (Henry  the  German), 
pseudonym  of  Heinrich  Isaac,  in  Italy. 

Arrigo'ni,  Carlo,  b.  Florence,  circa  1705; 
d.  there  (?),  c.  1743.  Renowned  lutenist,  and 
maestro  di  c.  to  the  Prince  of  Perpignan.  He 
was  invited  to  London,  in  1732,  to  strengthen 
the  clique  opposed  to  Handel,  but  made  no 
impression.    Is  said  to  have  brought  out  an 


L'ARRONGE— ASCHENBRENNER 


unsuccessful  opera,  Fernando  (1732);  pro- 
duced an  oratorio,  Esther  (Vienna,  1738); 
publ.  10  Cantate  di  camera  (London,  1732). 

rArronge,  Adolf.    See  L'Arronge. 

Artaria,  music-publishing  house  in  Vienna, 
established  by  Carlo  and  Francesco  A.  in  1770. 

Artea'ga,  Stefano,  Spanish  Jesuit,  b. 
Madrid  (?),  1730  (?);  d.  Paris,  Oct.  30,  1799. 
Intimate  with  the  celebrated  Padre  Martini 
at  Bologna;  author  of  the  valuable  treatise 
Le  rivoluzioni  del  teatro  musicale  italiano  daUa 
sua  origin*  fino  al  presente  (Bologna,  1783,  2 
vols.;  thoroughly  revised  ed.t  Venice,  1785,  3 
vols.;  German,  2  vols.,  by  Forkel,  1789). 

Arthur,  Alfred,  b.  Pittsburgh,  Pa.,  Oct.  8, 
1844.  Pupil,  in  the  Music  School,  Boston,  of 
B.  F.  Baker,  G.  Howard,  Arbuckle,  and 
Bowen;  at  the  Boston  Cons.,  of  Eichberg 
(harm,  and  comp.).  From  1869-71,  tenor  in 
Ch.  of  the  Advent,  Boston;  then  settled  in 
Cleveland,  Ohio,  where  since  1878  he  has 
been  choirmaster  of  the  Woodland  Av. 
Presb.  Ch.  ('Bach  Choir'),  and  cond.  since 
1873  of  the  Vocal  Society;  is  also  Dir.  of  the 
Cleveland  School  of  Music. — Works:  3 
operas,  The  Water-carrier  (MS.,  1876);  The 
Roundheads  and  Cavaliers  (MS.,  1878);  and 
Adaline  (MS.,  1879);  church-music,  pf.-pcs., 
gongs,  etc.;  Progressive  Vocal  Studies  (1887); 
Album  of  Vocal  Studies  (1888);  etc. 

Artdt  [ar-toh'l,  Alexandre-Joseph  Mon- 
tagney,  son  of  Maurice  A.;  b.  Brussels,  Jan. 
25,  1815;  d.  Ville-d'Avray,  July  20,  1845. 
Pupil  of  his  father,  and  Snel  of  Brussels; 
1824-31,  of  R.  and  A.  Kreutzer  at  Paris 
Cons.  Eminent  violinist;  extended  concert- 
tours  through  England,  the  Continent,  and 
the  United  States  (1843).— Works:  Violin- 
concerto  in  A  min.;  fantaisies  for  vln.  and  pf. 
(op.  4,  5,  8,  11,  16,  19);  airs  varies  f.  vln.  and 
orch.  (or  pf.)  (op.  1,  2,  17);  Rondeaus  f. 
do.  do.  (op.  9,  15);  serenades,  romances,  etc.; 
also  (MS.)  a  pf  .-quintet,  string-quartets,  etc. 

Artdt,  (Jean-)Desire  Montagney,  son  of 

Maurice;  b.  Paris,  Sept.  23,  1803;  d.  St. 
Tosse  ten  Noode,  Mar.  25,  1887;  taught  by 
his  father,  whom  he  succeeded  in  the  theatre; 
1843,  prof,  of  horn  in  the  Brussels  Cons.; 
1849,  1st  horn  in  the  private  orch.  of  King 
Leopold  I. — Publ.  fantasias  and  etudes  f. 
horn,  and  quartets  f.  4  valve-horns  or 
cornets  &  pistons. 

Artdt,  (Marguerite-Jo*ephlne-)De«iree 
Montagney,  daughter  of  Jean- Desire,  b. 
Paris,  July  21,  1835;  d.  Berlin,  Apr.  3,  1907. 
Renowned  dramatic  soprano,  pupil  of  Mme. 
Viardot-Garcia  (1855-7);  debut  at  Brussels, 
1857,'  in  concerts;  eng.  at  Grand  Opera, 
Paris,  in  1858,  but  soon  left  this  position  for 
starring-tours  in  France,  Belgium,  and  Hol- 
land; studied  for  a  time  in  Italy;  was  in 


Petrograd,  1866,  then  in  London,  Copen- 
hagen, etc.,  and  sang  for  several  years  in 
Germany  (Berlin,  1884-9),  where  her  fame 
reached  its  height;  lived  from  1889  in  Paris. 
In  1868  she  was  engaged  to  Tchaikovsky, 
but  married,  in  1869,  the  Spanish  baritone 
Padilla  y  Ramos  (1842-1906).— Their  daugh- 
ter is  Lola  Art6t  de  Padilla.  (Cf .  Padilla). 

Artdt,  Maurice  Montagney,  ancestor  of 
a  celebrated  line  of  musicians,  Montagney 
being  the  true  family-name.  He  was  born 
at  Gray  (Haute-Sa6ne),  Feb.  3,  1772;  died 
Brussels,  Jan.  8,  1829.  Bandmaster  in  a 
French  re^t.;  then  1st  horn-player  in  Th.  dc 
la  Monnaie,  Brussels,  and  conductor  at  the 
Convent  of  the  Beguines.  Also  taught  sing- 
ing, and  played  the  guitar  and  violin  well. 

Artschibuschew.    See  Artsy bushev. 

Artsybushev  [ar-tse],  Nicholas  Vassille- 
vitch,  b.  Tsarskoe-Selo,  Russia,  Mar.  7, 
1858.  Law-student  (till  1879);  advocate; 
pianist.  St.  harmony,  etc.,  with  Soloviev 
and.Rimsky-Korsakov.  Has  made  many  tran- 
scriptions f.  pf.;  has  also  written  a  polka  f. 
orch.,  2  pf. -mazurkas,  and  several  vocal 
romances. 

Artu 'si,  Giovanni  Maria,  contrapuntist, 
b.  circa  1550;  d.  Aug.  18,  1613.  Was  canon 
in  ordinary  at  the  ch.  of  San  Salvatore  in 
Bologna.  A  musician  of  the  old  school,  his 
writings  and  compositions  are  very  con- 
servative. He  wrote  UArt*  del  contrappunto 
ridotto  in  tavole  (Part  I,  1586;  P.  II,  1589;  a 
2nd  ed.  at  Venice.  1598,  in  1  vol.);  also 
L'Artusi,  owero  delle  imperfeUioni  della 
moderna  musica  (Venice,  1586;  2nd  ed., 
1600);  Considerations  musicali  (Venice,  1607); 
and  Impresa  del  R.  P.  Gioseffo  Zarlino 
(Bologna,  1604).— Publ.  a  set  of  4-p.  Can- 
zonette  (1598).— See  Q.-Lex. 

Asantchev'sky  (Asantschewskl),  Mich- 
ael Pavlovitch,  b.  Moscow,  1838;  d.  there 
Jan.  24,  1881.  Pupil  of  Hauptmann  and 
Richter  at  Leipzig  Cons,  in  1861-2,  then  of 
Liszt  at  Rome;  lived  in  Paris,  1866-70,  where 
he  bought  the  library  of  Anders,  and,  adding 
to  it  his  own,  presented  them  to  the  Petro 
grad  Cons.,  which  thus  possesses  one  of  the 
Snest  mus.  libraries  in  the  world.  From 
1870-6,  Director  of  the  Cons.,  succeeding 
Zarcmba;  later  he  devoted  himself  to  comp  — 
Works:  Sonata  f.  pf.  and  'cello,  op.  2,  in 
B  m.;  pf.-trio  in  F#m.,  op.  10;  Fest- Polonaise 
f.  2  pfs.,  op.  12;  minor  pf.-pcs.;  a  concert- 
overture  for  orch.;  Psalm  XII  lor  ch.  and 
orch.;  2  quartets;  etc. 

Asch'enbrenner,  Christian  Heinrich,  b. 
Altstettin,  Dec.  29,  1654;  d.  Jena,  Dec.  13, 
1732.  An  able  violinist;  leader  at  Zeitz 
(1677-81)  and  Merseburg  (1683-90);  Music- 
Director  to  the  Duke  of  S.-Zeitz  (1695-1713); 


30 


ASCHER— ASSMAYER 


and  Kapellm.  to  the  Duke  of  S.-Merseburg 
(1715-19);  then  retired  on  pension  to  Jena. 
Only  extant  works:  Gast-  u.  Hochteitsfreude, 
bestehend  in  Sonaten,  Prdludien,  Allemanden, 
Couranten,  Balletten,  Arien,  Sarabanden  mil 
3f  4  u.  5  Stitnmen,  nebst  dan  Basso  continuo 
(1673). 

Asch'er,  Joseph,  b.  Groningen,  Holland, 
June  4,  1829;  d.  London,  June  20,  1869. 
Pianist  and  composer,  pupil  of  Moscheles  in 
London  and  Leipzig  (1846).  Went  to  Paris 
in  1849,  and  subsequently  became  court 
pianist  to  the  Empress  Eugenie.  Composed 
much  popular  salon-music  (over  100  noc- 
turnes, mazurkas,  galops,  etudes,  transcrip- 
tions). 

Ashdown,  Edwin,  London  music-pub- 
lisher, succes  or  (1884)  of  Ashdown  &  Parry, 
who  were  the  successors  (1860)  of  Wessel  & 
Co.  (founded  1825). 

Ash  ton,  Algernon  (Bennet  Langton), 

talented  pianist  and  composer;  b.  Durham, 
Engl.,  Dec.  9,  1859.  Pupil  of  Leipzig  Cons. 
(Coccius,  Papperitz,  Jadassohn,  Remecke) 
1875-9;  and  of  Raff  at  Frankfort,  1880-1, 
for  comp. ;  since  then  in  London.  Pf .-teacher 
at  R.  C.  M.,  188571910;  similar  pos.  at 
London  Coll.  Mus.  since  1913.  Made  num- 
erous tours  of  England,  Germany,  Austria 
and  Hungary. — His  numerous  publ.  works 
have  reached  ^  the  opus  No.  150,  and  in- 
clude 2  pf. -quintets  (C,  E  m.);  2  pf. -quartets 
(F  m.t  C  m.);  3  pf  .-trios  (E,  A,  B  m.);  Suite 
for  2  pfs.  (op.  50);  about  200  pieces  for  pf. 
solo  (op.  36,  4  Idyls;  op.  47,  3  Gavots;  op.  67, 
Roses  and  Thorns;  op.  69,  3  Fantasias;  op. 
101,  Sonata  in  Eb  m.);  English,  Scotch  and 
Irish  Dances  for  pf.  4  hands;  4  Sonatas  for 
violin  with  pf.,  in  D,  E,  C  m.f  A;  4  Sonatas  f. 
'cello  with  pf.,  in  F,  G,  A  m.,  Bb;  Sonata  for 
viola  w.  pf .,  in  A  m. ;  also  choral  music,  many 
part-songs,  over  200  songs,  organ-pieces. — In 
MS.  he  has  5  symphonies  and  3  overtures  f. . 
orch.;  a  quintet  f.wind;  2  string-quartets;  a 
pf. -concerto;  a  violin-concerto;  a  cantata, 
Johanna  Sebus;  etc. — Author  of  Truth,  Wit 
and  Wisdom  (London,  1904);  More  Truth, 
Wit  and  Wisdom  (ib.,  1905;  a  collection  of 
over  1,000  letters  to  the  press). 

Ashton,  Hugh.    See  Aston. 

Asioli,  Bonifazio,  b.  Correggio,  Aug.  30, 
1769;  d.  there  May  18, 1832.  A  prolific  com- 
poser of  wonderful  precocity,  and  a  pupil  of 
L.  Crotti,  at  the  age  of  8  he  had  written  3 
masses  and  20  other  sacred  works,  a  harpsi- 
chord-concerto and  a  vln.-concerto,  both  w. 
orch.,  and  2  harp-sonatas  f.  4  hands.  St.  at 
Parma  1780-2,  under  Morigi;  then  visited 
Bologna  and  Venice,  where  he  was  much 
applauded  at  private  concerts  as  a  cembalist, 
improviser,   and   composer.      Returning   to 


31 


Correggio,  his  first  opera  buffa,  La  Volubile 
(1785),  was  successfully  produced;  1786,  m. 
di  c.  at  C;  1787,  attached  to  the  Marquis 
Gherardini  as  maestro,  going  with  him  (1796) 
to  Turin  and  (1799)  to  Milan,  where  his 
opera  Cinna  had  been  favorably  received  in 
1793.  From  1808-14  he  was  1st  prof,  of 
cpt.,  and  Inspector,  at  the  newly  founded 
Milan  Cons.,  and  then  retired  from  public 
activity. — Works:  7  operas,  an  oratorio 
(Giacobbo),  very  many  cantatas,  masses, 
motets,  duets,  songs,  etc.;  a  symphony,  an 
overture,  concertos,  serenades,  sonatas,  cham- 
ber-music, organ -pes.,  etc.,  etc.  He  was  the 
author  of  several  clearly- written  textbooks: 
Principt  elementari  di  musica  (1800;  French 
ed.,  1819);  IS Allievo  at  cembalo;  Primi  de- 
menti per  tl  canto;  Elementi  per  il  contrabasso 
(1823);  TraUato  oVarmonia  e  d{ 'accompagna- 
mento  (1813),  with  a  posth.  sequel,  //  maestro 
di  composizione  (1836);  Dialoghi  sul  trattato 
oVarmonia  (1814);  Osservasione  proprio  at 
temperamento  degli  istrumenti  stabtli,  with  a 
supplement  Disinganno  suite  osservationi  ecc. 
Biography  by  A.  Coli  (Milan,  1834);  alsocf. 
Ancarani,  Sopra  alcune  parole  di  Carlo  Botta 
intorno  al  metodo  musicale  di  B.  A.  (1836), 
and  A.  Amadei,  Intorno  alio  stile  delta  mo- 
derna  musica  di  chiesa  (1841).— See  Q.-Lex. 
Aaola  (Lat.  Asula),  Giovanni  Matteo, 
one  of  the  first  to  use  a  basso  continuo  for 
the  org.-accomp.  of  sacred  vocal  music;  b. 
Verona,  circa  1560;  d.  Venice,  Oct.  1,  1609. 
Composed  much  church-music  (masses,  anti- 
phones,  psalms,  etc.);  2  books  of  madrigals 
(Venice,  1587  and  1596;  also  later  editions). 
Cf.  Delia  vita  e  delle  opere  di  Giammateo 
Asolaf  by  Caffi  (Padua,  1862).— See  Q.-Lex. 

Aapa,  Mario,  opera-composer;  b.  Messina, 
1799;  d.  there  Dec.  14,  1868.  Pupil  of  Zin- 
garelli  in  Naples.  Wrote  some  42  operas;  the 
best  are  //  muratore  di  Napoli  (1850);  /  due 
Fortati  (circa  1834);  Piero  di  Calais  (1872); 
Un  travestimento  (1846). 

Asplmayr,  Franz,  b.  circa  1721 ;  d.  Vienna, 
May  29,  1786.  Important  as  one  of  the  first 
Viennese  composers  who  adopted  the  style 
and  forms  of  the  Mannheim  symphonists. 
(See  Stamitz.)  He  wrote  6  Serenate,  op.  1; 
6  Quatuors  concertants,  op.  2;  6  Trios,  op.  5; 
6  Quatuors,  op.  6.  A  trio  (op.  5,  No.  1)  and 
a  quartet  (op.  6,  No.  2)  were  publ.  by  Rie- 
mann  in  'Collegium  Musicum.'  As  court 
musician  and  ballet  composer  at  the  Italian 
Opera  in  Vienna,  he  prod,  there  the  Sing- 
spiele  Die  Kinder  der  Natur  (1780)  and  Der 
Sturm  (1782),  and  several  ballet-divertisse- 
ments. 

Ass'mayer,  Ignaz,  b.  Salzburg,  Feb.  11, 
1790;  d.  Vienna,  Aug.  31,  1862.  Pupil  of 
Michael  Haydn  and  Brunmayr?  1808,  org. 
at  Salzburg;  1815,  st.  with  Eybler,  Vienna; 


ASTARITTA— ATTWOOD 


1824,  Kapellm.  at  the  'Schottenstift';  1825, 
Imperial  organist;  1838,  vice-,  1846  second 
Kapellm.  to  the  court,  succeeding  Weigh — 
Pubh  2  oratorios,  Saul  und  David,  and  Sauls 
Tod;  a  3rd,  Das  Gelubde,  is  in  MS.;  also 
a  mass  (he  wrote  15),  and  a  few  of  his  other 
sacred  works  (requiems,  a  Te  Deum,  grad- 
uals,  offertories,  hymns,  etc.);  most  of  his 
secular  works  (symphonies,  overtures,  pas- 
torales, etc.),  some  60  in  all,  have  been 
printed. 

Astarit'ta,  Gennaro,  opera-composer;  b. 
Naples,  circa  1749;  d.  1803.  Wrote  some  36 
operas,  given  in  Naples,  Rome,  Venice,  Dres- 
den, Berlin,  etc. ;  VOrfana  insidiata  (Naples, 
1765)  was  the  first;  Circe  ed  Ulisse  (Presburg, 
1787),  the  besf. 

Aston  (Ash  ton,  Aystoun,  Austen), 
Hugh,  d.  Dec.,  1522;  composer  of  the  oldest 
preserved  virginal  pieces  (Hornpipe  and  I^ady 
Carey's  Dompe,  printed  in  S.  Smith's  'Mu- 
sica  Antiqua');  wrote  also  a  mass  a  6  ( Videte 
manus  meas)  and  a  mass  a  5  (Te  Deum); 
also  several  motets. 

d'Astorga,  Emanuele  (Gioachino  Ce- 
sare  Rinc6n),  b.  Augusta,  Sicily,  Mar.  20, 
1680;  d.  circa  1750  in  Spain.  He  came  of  a 
noble  Spanish  family,  who,  at  the  beginning 
of  the  17th  century,  had  settled  in  Augusta. 
A.  was  a  baron  in  his  own  right  from  his 
estate  Ogliastro,  near  Augusta.  He  received 
an  excellent  education,  at  first  in  Augusta, 
and  later  in  Palermo,  where  hid  father  had 
been  a  resident  for  some  years  when  he  died 
"jere  in  1712.  During  the  revolution  of  1708 
HiPatermo  A.  was  an  officer  in  the  municipal 
guard.  In  1712  he  was  in  Vienna;  in  1713  in 
Znaim;  1714-15  in  London;  1717-18  senator 
in  Palermo.  After  that  he  lived  in  Spain  in 
the  service  of  the  king ;  1 744  he  sold  his  Sicilian 
estate.  He  had  practised  music  from  child- 
hood, but  never  took  it  up  as  a  profession. 
To  his  contemporaries  he  was  known  as  a 
man  versed  in  the  sciences,  a  fine  singer, 
cembalist  and  composer.  His  reputation  was 
won  through  his  only  opera  Dafni  (Genoa, 
1709;  other  known  productions  at  Barce- 
lona, 1709,  and  Breslau,  1726),  and  numerous 
chamber-cantatas,  of  which  he  himself  pubh 
a  volume  (containing  12)  in  1726  at  Lisbon. 
The  earliest  known  performance  of  his  most 
famous  work,  a  Stabat  Mater  for  4  voices, 
took  place  in  London  in  1752.  In  1878 
R.  Franz  pubh  a  new  ed.  The  current 
romantic  account  of  A.'s  life,  first  pubh  by 
Fr.  Rochlitz  in  vol.  ii  of  'Fur  Freunde  der 
Tonkunst*  (1825),has  been  proved  to  be  pure 
invention. — In  his  book  Emanuel  d'Astorga 
(Leipzig,  1911)  Hans  Volkmann  gives  an 
authentic  account  based  upon  the  evidence 
of  original  documents.  A  second  vol..  deal- 
ing with  the  works  of  A.,  is  to  follow  shortly. 


Atherton,  Percy  Lee,  b.  Roxbury,  Mass., 
Sept.  25,  1871.  Grad.  'with  honors'  from  the 
mus.  course  in  Harvard  Univ.,  1893;  from 
1893-5  pupil  of  Rheinberger  at  the  Kgl. 
Hochschule  in  Munich;  1896  with  O.  B. 
Boise  (comp.)  in  Berlin;  1900  with  Sgambati 
in  Rome,  and  later  with  Widor  in  Paris. 
Has  written  2  comic  operas,  The  Heir  Ap- 
parent (1890)  and  Maharajah  (1900);  f.  vh 
and  pf.,  2  sonatas,  a  suite,  and  smaller  pes.; 
suite  f.  fh  and  pf.;  choruses,  part-songs,  and 
songs  for  1  voice;  his  orch.  works  (in  MS.) 
include  Noon  in  the  Forest,  symph.  poem; 
Symph.  Scherzo;  Symph.  Andante;  Schertino 
f.  string-orch.,  etc. 

Attaignant  [-tan-yahn'],  Pierre  (also  At- 
taingnant,  Attelgnant),  music-printer  in 
the  first  half  of  the  16th  cent.,  and  the 
first,  in  Paris,  to  employ  movable  types. 
The  20  books  of  motets  printed  by  him 
(1527-50),  65  books  of  chansons,  and  other 
compositions,  chiefly  by  French  musicians, 
are  very  rare. — See  Q.-Lex. 

At'tenhofer,  Karl,  b.  Wettingen,  Switzer- 
land, May  5,  1837;  d.  Munich,  May  22,  1914. 
Pupil  of  D.  Elster  (Wettingen),  Kurz  (Neu- 
enberg),  and  Richter,  Papperitz,  Drcyschock, 
Rontgen,  and  Schleinitz  (Leipzig  Cons., 
1857-8).  1859,  teacher  of  music  at  Muri 
(Aareau);  1863,  conductor  of  Rapperswyl 
Men  s  Choral  Union,  and  in  1866  took 
charge  of  3  Unions  at  Zurich,  where  he 
settled  in  1867.  He  has  also  held  various 
positions  as  organist,  teacher,  etc.  A  well- 
known  and  eminent  composer  of  choral-songs 
for  men's  voices  (e.  g.,  the  cantatas  Hege- 
lingenfahrt,  1890,  and  Fruhlingsfeier,  op.  51); 
Der  deutsche  Michel  f.  men's  voices,  bar.  solo 
and  org.;  Liederbuch  f.  Mannerges.  (1882); 
also  for  women's  ch.,  soli  and  pf.  (Beim 
Rattenfdnger  im  Zauberberg,  Das  Kind  der 
Wiisle,  Prinzessin  Wunderhold,  Rutlifahrt); 
children's  songs,  songs  w.  pf.,  masses,  pf.- 
pieces,  easy  etudes  f.  vln. — Biogr.  sketch  by 
A.  Gliick. 

At' trap,  Karl,  b.  Copenhagen,  Mar.  4, 
1848;  d.  there  Oct.  5,  1892.  Pupil  (1867)  of 
Gade,  whom  he  succeeded,  in  1869,  as  organ- 
teacher  at  the  Copenhagen  Cons.;  organist 
at  several  churches.  His  studies  for  organ, 
and  songs,  arc  of  value. 

Attwood,  Thomas,  b.  London,  Nov.  23, 
1765;  d.  Chelsea,  Mar.  24,  1838.  Chorister 
in  the  Chapel  Royal,  and  a  pupil  of  Nares 
and  Ayrton,  from  1774-9;  sent  by  the  Prince 
of  Wales  (afterwards  George  IV)  to  Naples, 
where  he  studied,  1783-5,  with  Filippo 
Cinque  and  Gaetano  Latilla;  then  with 
Mozart  in  Vienna  until  1787.  He  was,  suc- 
cessively, organist  of  St.  George  the  Martyr, 
London,  and  a  member  of  the  Prince's  pri- 
vate band;  teacher  of  the  Duchess  of  York 


32 


AUBER— AUBRY 


(1791),  and  of  the  Princess  of  Wales  (1795); 
org;,  of  St.  Paul's  (1796);  composer  to  the 
King's  Chapel  Royal,  succeeding  Dupuis 
(1796);  org.  of  the  King's  private  chapel  at 
Brighton  (1821),  and  org.  of  the  Chapel 
Royal  (1836). — Works:  21  operas;  anthems, 
services,  glees,  songs,  pf. -sonatas,  etc.  He 
occupied  a  high  place  among  English  com- 
posers, and  was  a  warm  friend  of  Mendels- 
sohn.— See  Q.-Lex. 

Auber  [oh-bar'],  Danjel-Francois-Esprit, 

a  prolific  composer  of  French  operas,  was  born 
at  Caen  in  Normandy,  Jan.  29, 1782;  d.  Paris, 
May  14,  1871.  His  father,  an  art-dealer  and 
print-seller  in  Paris,  wished  his  son  to  devote 
himself  to  business,  and  sent  him  to  London 
to  acquire  a  knowledge  of  the  trade.  Auber 's 
irresistible  inclination  for  music,  however, 
manifested  itself,  and  in  1804  he  returned  to 
Paris,  following  thenceforward  his  natural 
bent.  His  first  opera,  Julie,  a  resetting  of  an 
old  libretto,  was  produced  by  amateurs  at 
Paris  in  1811,  with  an  orchestra  of  six  stringed 
instruments.  Cherubim*  happened  to  be 
among  the  auditors;  he,  recognizing  Auber 's 
talent,  supervised  his  further  instruction,  and 
while  with  him,  A.^  wrote  a  mass  for  4  voices. 
Auber's  first  public  productions,  Le  SSjour 
mUitaire  (1813),  and  Le  Testament  et  les 
Billets-doux  (1819),  were  indifferently  re- 
ceived ;  but  his  next  opera,  La  Bergere  ch&te- 
laine  (1820),  was  a  success.  From  ttfat  date 
until  1869,  scarcely  a  year  passed  without 
the  production  of  one  or  several  operas,  in 
all  over  forty.  One  of  these,  Masaniello,  ou 
la  Muette  de  Portici,  produced  in  1828,  was 
considered  a  masterpiece  by  Wagner,  and 
with  Meyerbeer's  Robert  le  Viable  and  Ros- 
sini's Guillaume  Tell,  laid  the  foundations  of 
French  grand  opera.  Its  portrayal  of  pop- 
ular fury  is  so  graphic,  that  the  Brussels  riots 
followed  its  performance  in  that  city  on 
August  25,  1830.  It  seems  to  have  been 
inspired  by  the  revolutionary  spirit  prevalent 
at  that  time  in  Paris;  it  diners  wholly  from 
Auber's  other  operas,  which  are  comedy- 
operas,  the  best  of  them  composed  to  libretti 
by  Scribe.  In  this  genre  Auber  is  foremost 
among  French  pom  posers;  and  although  it 
has  been  written  of  him  that  "in  his  early 
essays,  he  displayed  an  original  style,  but 
afterwards  became  an  imitator  of  Rossini, 
and  disfigured  his  melodies  with  false  decora- 
tions and  strivings  for  effect,"  his  music  is 
sparkling  and  has  the  true  Parisian  'chic'  and 
polish.  La  Muette  de  Portici,  Le  Macon,  Fra 
Diavolo.Les  Diamants  de  la  couronne,  and  a 
few  of  his  other  operas,  are  still  stock-pieces 
in  France  and  Germany.  In  1835,  A.  suc- 
ceeded to  Gossec's  chair  in  the  Academy;  in 
1842,  he  was  appointed  Director  of  the 
Conservatory  of  Music  in  Paris,  as  Cheru- 


33 


bini's  successor;  in  1857,  Napoleon  III  made 
him  imperial  'maftre  de  chapelle.'  The  viril- 
ity of  his  personality  was  evinced  by  his  last 
opera,  Reves  d1  amour,  a  title  suggestive  of 
youthful  feeling,  produced  when  he  was 
87  years  of  age.  Auber  was  a  thorough 
Parisian,  and  during  the  latter  years  of  his 
life  was  said  not  to  have  set  foot  outside 
the  city  boundaries.  He  remained  there  even 
during  its  siege  by  the  Germans. — Cf.  A. 
Pougin,  Auber  (Paris,  X873);  A.  Kohut,  Auber 
(Leipzig,  1895);  Ch.  Malherbe,  Auber  (Paris, 
1911). 

Operas:  Julie  (1811),  Jean  de  Couvin  (1812).  Le 
Sijour  militaire  (1813).  Le  Testament  et  les  Billets-doux 
(1819),  La  Bergere  ehdtelaine  (1820),  Emma,  ou  la 
Promesse  imprudente  (1821),  Leicester  (1822),  La 
Neige.  ou  le  nouvel  Eginhard  (1823),  VendOme  en 
Espagne  (1823,  with  HGrold),  Les  Trois  Genres  (1824, 
with  Boieldieu),  Le  Concert  a  la  Cour  (1824),  Llocadie 
(1824),  Le  Macon  (1825).  Le  Timide  (1826).  Fiorella 
(1826).  La  Muette  de  Portici  (1828).  La  Fiancie  (1829). 
Pra  Diavolo  (1830).  Le  Dieu  et  la  Bayadere  (1830), 
La  Marquise  de  BrinvilUers  (1831,  together  with  eight 
other  composers),  Le  Philtre  (1831),  Le  Serment,  ou 
les  Paux-Monnayeurs  (1832),  Gustave  III  {Le  Bal 
masqut,  1833),  Lestocq  (1834),  Le  Ckeval  de  bronwe 
(1835:  extended  into  a  grand  ballet  In  1857),  Action, 
Les  Chaperons  blancs,  V Ambassadrice  (1836).  I* 
Domino  noir  (1837),  Le  Lac  des  Pies  (1839).  Zanetta 
(1840),  Les  Diamants  de  la  couronne  (1841).  Carlo 
Broschi  (1842),  Le  Due  d'Olonne  (1842),  La  Part  du 
Diable  (1843),  La  Sirene  (1844).  La  Barcarolle  (1845). 
Haydie  (1847),  V Enfant  prodigue  (1850),  Zerline,  ou 
la  CorbeiUe  d* oranges  (1851),  Marco  Spado  (1852. 
extended  to  a  grand  ballet  in  1857).  Jenny  Bell  (1855), 
Manon  Lescaut  (1856),  Magenta  (1859).  La  Circas- 
sienne  (1861),  La  Fiancie  du  Roi  de  Garbe  (1864), 
Le  premier  Jour  de  bonheur  (1868).  RHes  a" amour  (1869). 

Aubert  [oh-bar'],  Jacques  (called  'le 
vieux'),  eminent  French  violinist;  b.  1678;  d. 
Belleville,  May  19, 1753.  Violinist  in  the  royal 
band  (1727);  leader  in  orch.  of  the  Grand 
Opera  and  the  Concerts  Spirituels  (1728); 
also  leader  in  the  band,  and  Director  of 
music,  of  the  Due  de  Bourbon. — Works:  An 
opera;  several  ballets;  and  much  chamber- 
music,  etc.,  for  violin,  distinguished  for 
elegance. 

Aubery  du  Boulley  [boo-lal,  Prudent- 
Louis,  b.  Verneuil,  Eure,  Dec.  9,  1796;  d. 
there  Feb.,  1870.  Prolific  comp.  of  chamber- 
music  in  which  the  guitar,  flute  and  pf.  are 
much  employed;  author  of  a  Method  for 
guitar  (op.  42),  and  a  text-book,  Grammaire 
musicale  (Paris,  1-830).  He  studied  in  the 
Paris  Cons,  till  1815  under  Momigny,  Me- 
hul  and  Cherubini;  was  at  first  an  amateur 
musician,  but  later  a  teacher  who  did  much 
to  cultivate  a  taste  for  music  in  his  province. 
— Biographical  sketch  by  J.  de  l'Avre  (Ver- 
neuil, 1896). 

Aubry,  Pierre,  b.  Paris,  Feb.  14,  1874;  d. 
Dieppe,  Aug.  31,  1910.  Prof,  of  oriental  lan- 
guages; lecturer  on  mus.  history  at  the  ficole 
des  Hautes  Etudes  Sociales. — He  publ.  Huits 
Chants  htroiques  de  Vancienne  France  (1896); 
Melanges  de  Musicologie  critique,  in  4  vols.: 


AUDRAN— AURELIANUS 


I.  La  Musicologie  mtdiewde  (1899);  II.  Les 
Proses  d'Adam  de  Saint-Victor  (1900,  w.  Abbe 
Misset);  III.  Lais  et  D escorts  francais  du 
XIII*  siecle  (1901,  w.  Jeanroy  and  Brandin); 
IV.  Les  plus  anciens  monuments  de  la  musique 
franc.  (1903,  with  24  phototypes);  Essais  de 
Musicologie  comparie,  2  vols.:  I.  Le  Rythme 
tonique  dans  la  poesie  liturgique  et  dans  le 
chant  des  iglises  chretiennes  au  moyen-dgc 
(1903);  II.  Esquisse  d'une  Bibliographic  de  la 
Chanson  populaire  en  Europe  (1905);  Les 
Caracteres  de  danse.  Ristoire  d'un  divertisse- 
ment pendant  la  premiere  moitiS  du  XVIII* 
siecle  (1905);  Au  Turkestan.  Notes  sur 
quelques  habitudes  musicales  chez  les  Tadjites 
et  chez  les  Sartes  (1905);  La  Musique  et  les 
musiciens  diglise  en  Normandie  au  XIII* 
siecle  .  .  .  (1906);  Estampies  et  Danses  royales. 
Les  plus  anciens  textes  de  musique  instru- 
mentale  au  moyen-dge  (1907);  Recherche  s  sur 
les  Tenors  francais  dans  les  motets  du  XIII* 
siecle  (1907);  Recherches  sur  les  Tenors  latins 
dans  les  motets  du  XIII*  siecle  (1907,  w. 
Gastoue);  Le  Roman  de  Fauvel  (1907;  fac- 
simile ed.  of  the  Parisian  MS.,  w.  index  and 
editorial  explanations) ;  Cent  Motets  du  XIII* 
siecle  (1908,  3  vols.;  photogr.  facsimile,  w. 
translation,  of  Bamberg  Codex  E.  d.  IV.  6, 
w.  additional  Studes  et  commentaires;  a  most 
important  work);  Refrains  et  Rondeaux  du 
XIII*  siecle  (1909,  in  the  Riemann  'Fest- 
schrift'); Trouveres  et  Troubadours  (1909; 
Engl.  ed.  N.  Y.,  1914);  and  a  number  of 
essays  on  kindred  topics,  publ.  in  the  'Mer- 
cure  musical'  (1903-8),  also  separately. 

Audran  [oh-drahn'j,  Edmond,  son  of 
Marius;b.  Lyons,  April  11, 1842;d.Tierceville, 
n.  Gesors,  France,  Aug.  17, 1901.  Pupil  of  the 
Ecole  Niedcrmeyer,  Paris;  1861,  mattre  de 
ch.  at  church  of  St.-Joseph  at  Marseilles. 
His  debut  as  a  composer  was  at  Marseilles, 
1862,  with  the  opera  VOurs  et  le  Pacha;  he 
successfully  produced  about  40  other  operas, 
operettas,  etc.,  chiefly  of  a  light  character, 
in  minor  Parisian  theatres;  also  wrote  a 
mass,  a  funeral  march  f.  Meyerbeer's  death, 
etc.  From  1877  he  lived  in  Paris. — He  pro- 
duced the  operetta  La  Fiancee  des  Verts- 
Poteaux  (Paris,  1887;  v.  succ);  operetta 
Olivette  (given  Berlin,  1895,  as  Capitain  Ca- 
ricciolo;  succ);  opera  Sainte-Freya  (Paris, 
1892;  succ);  operetta  La  Mascotte  (1880; 
given  1700  times  up  to  Aug.  29,  '97);  oper- 
etta Miss  Helyett  (Paris,  1890;  succ);  oper- 
etta Madame  Suzette  (Paris,  1893;  succ); 
operetta  Mon  Prince/  (Paris,  1893;  succ); 
3-act  lyric  comedy  Photis  (Geneva,  1896; 
succ) ;  3-act  com.  opera  La  Duchesse  de  Fer- 
rare  (Paris,  1895;  mod.  succ);  4-act  comic 
opera  La  Poupee  (Paris,  '96;  mod.  succ); 
comic  operetta  Monsieur  Lohengrin  (Paris, 
1896;  v.  succ);  Les  petites  femmes  (1897); 
and  others. 


Audran,  Marina-Pierre,  operatic  tenor 
and  song-composer;  b.  Aix,  Provence,  Sept. 
26,  1816;  d.  Marseilles,  Jan.  9,  1887.  Pupil 
of  E.  Arnaud.  After  successful  appearances 
at  Marseilles,  Brussels,  Bordeaux,  and  Lyons, 
he  became  first  tenor  at  the  Opera-Comique. 
Paris,  soloist  at  the  Cons.  Concerts,  and 
member  of  the  Cons.  Jury.  After  travelling 
(1852-61),  he  .settled  in  Marseilles,  becoming 
(1863)  Director  of  the  Cons,  there,  and  prof, 
of  singing. 

Au'er,  Carl.    See  Frotzler. 

Au'er,  Leopold,  distinguished  violinist;  b. 
Veszprem,  Hungary,  June  7,  1845.  Pupil  of 
the  Conservatories  at  Pest  (Ridley  Kohne- 
tol)  and  Vienna  (Dont,  1857-8);  finally,  of 
Joachim.  From  1863-5,  leader  in  Dflssel- 
dorf,  and  1866  in  Hamburg;  since  1868,  solo- 
ist to  the  Tsar  and  of  the  Imp.  orch.  at 
Petrograd,  and  violin-prof,  at  the  Cons. 
1887-92,  cond.  of  the  concerts  of  the  Imp. 
Russ.  Mus.  Soc;  1895,  elevated  to  the  rank 
of  the  hereditary  Russian  nobility;  1903, 
State  Councillor.  He  is  equally  famous  as  a 
virtuoso  and  a  teacher.  Among  his  pupils 
are  Elman,  Zimbalist,  Parlow,  Heifetz,  etc. 

Au'gener  &  Co.,  London  firm  of  music- 
sellers  and  publishers,  founded  1853  by 
George  A.  They  began  the  publication  of  the 
famous  'Augener's  Edition  in  1867;  pub- 
lishers, since  1871,  of  'The  Monthly  Musical 
RecoroY 

Au  gustine  ( Auftus tt  nus) ,  Aurelius, 
better  known  as  St.  Augustine;  b.  Tagaste, 
Numidia,  354;  d.  as  bishop  at  Hippo,  Algeria, 
430.  Renowned  father  of  the  Latin  Church, 
educated  at  Madaura  and  Carthage.  His 
writings  contain  valuable  information  con- 
cerning Ambrosian  song;  that  entitled  'De 
Musica'  treats  only  of  metre. — Cf.  De  musicis 
scriptoribus  Romanis  by  K.  Schmidt  (1899). 

Aulin,  Tor,  violinist  and  composer;  b. 
Stockholm,  Sept.  10, 1866;  d.  there  March  1, 
1914.  St.  in  Berlin  with  E.  Sauret  (vln.) 
and  Ph.  Scharwenka  (comp.).  In  1887  he 
established  the  A.  Quartet,  which  soon  be- 
came famous  also  in  Russia  and  Germany; 
from  1889-1902  concert- master  at  the  royal 
Opera  in  Stockholm,  with  frequent  leave  for 
extended  concert  tours,  which  established  his 
reputation  as  the  greatest  Scandinavian  violin 
virtuoso  since  Ole  Bull;  after  1902,  cond.  of 
the  Stockholm  Philh.  Soc — Works:  An  orch. 
suite,  Meister  Oluf,  op.  22;  3  concertos  for 
vln.;  several  vln.  solos. 

Aurelia'nus  Reomen'ste,  monk  at  Reo- 
me  in  the  9th  century;  wrote  a  treatise, 
Musica  disciplinaf  published  by  Gerbert  in 
'Scriptores/  vol.  i.  It  contains  the  earliest 
information  regarding  the  character  of  the 
church-modes.  Cf.  H.  Riemann,  Handbuch 
der  Musikgeschichte,  I,  2,  p.  56. 


34 


AUS  DER  OHE— AYERS 


Aus  der  Ohe,  Adele,  pianist;  b.  circa 
1865  in  Germany.  From  the  age  of  7, 
taught  by  Kullak  in  Berlin;  three  years  later 
made  her  d6but  there  with  orch.  When  12 
years  old  she  went  to  Liszt,  with  whom  she 
remained  seven  years.  Her  tours  of  Europe 
and  the  U.  S.  were  successful,  more  because 
of  the  dazzling  brilliancy  of  her  technic  than 
because  of  depth  of  feeling.  Her  publ.  works 
are  2  pf. -suites,  op.  2,  8;  Concert-etude, 
op.  3;  3  pes.  for  pf.,  op.  4;  songs,  op.  5,  6,  7. 

Austin,  Florence,  concert- violinist;  b. 
Galesburg,  Mich.,  March  11,  1884.  Pupil  of 
H.  Schradieck  in  New  York,  1895-8;  then, 
until  1901,  of  O.  Musin  at  Liege  Cons.,  win- 
ning first  prize  (first  time  carried  off  by  an 
American);  made  a  succ.  debut  in  New  York 
with  the  Paganini  concerto  (Dec.,  1901),  and 
has  since  appeared  with  several  of  the  larger 
symph.  orchs.  in  the  U.  S..  and  Canada,  as 
well  as  in  recital;  soloist  at  the  Maine  Fest., 
1914;  since  1912,  head  of  violin  department, 
Musin  Virtuoso  School,  Newark,  N.  J. 

Austin,  Frederick,  baritone  and  comp.; 
b.  London,  Mar.  30,  1872.  Pupil  of  his  uncle, 
Dr.  Hunt  (pf.,  comp.)  and  H.  Grimshaw 
(or$.)  at  Birkenhead.  He  occupied  several 
positions  as  org.  in  Liverpool,  and,  until 
1906,  taught  theory  at  the  Coll.  of  Mus. 
there.  At  the  same  time  he  studied  singing 
with  Ch.  Lunn;  made  his  debut  as  concert 
singer  in  1902  in  London,  meeting  with  more 
than  ordinary  success,  so  that  he  is  in  great 
demand  for  the  various  Engl,  festivals;  made 
his  operatic  debut  as  Gunther  in  London 
(1908);  has  since  sung  the  baritone  parts  in 
Wagner  at  Covent  Garden,  His  Majesty's 
Th.,  with  Beecham's  company,  and  with 
Denhof  (in  Engl.).  Also  noteworthy  as  com- 
poser.— Works:  Overture,  Richard  III;  rhaps. 
for  orch.,  Spring;  symph.  poem,  Isabella; 
Festival  Prelude  For  string-orch.  and  org.;  a 
pf.-trio;  ore.-pieces;  pf. -pieces;  church-music. 
— His  brother,  Ernest,  b.  London,  Dec.  31, 
1874,  abandoned  a  mercantile  career,  and 
appeared  in  1907  as  a  composer  of  extreme 
tendencies. 

Aute'ri-Manzocchi  [-tsdh'ke],  Salvatore, 
composer  of  operas  and  songs;  b.  Palermo, 
Dec.  25,  1846;  pupil  of  Platania  at  Palermo, 
1867-9,  and  Mabellini  at  Florence,  1870-3. 
His  countrymen  hold  his  works  in  high 
esteem. — Operas:  Dolores  (Florence,  1875; 
very  succ.);  II  Negriero  (Milan,  1878);  Stella 
(Piacenza,  1880;  v.  succ.) ;  //  Conte  di  Gleichen 
(Milan,  1887);  the  3-act  opera  seria  Graziella 
(Milan,  '90;  mod.  succ);  and  Severo  Torelli 
(Bologna,  1903).  His  first  opera,  Marcellina, 
was  never  performed. 

d'Auvergne  [doh-varn'],  Antoine,  b.  Mou- 
lins  (Clermont-Ferrand),  Oct.  4,  1713;  d. 
Lyons,  Feb.  11,  1797.    Violinist,  pupil  of  his 


35 


father.  He  went  to  Paris  in  1739,  played 
next  year  in  the  'Concerts  Spirituels,'  joined 
the  King's  band  in  1741,  and  the  Opera  orch. 
in  1 7  42 .  He  cond  ucted  the  latter  1751-5;  was 
Director  until  1790,  and  retired  at  the  out- 
break of  the  Revolution  to  Lyons.  His  first 
stage- work  was  a  ballet,  Les  Amours  de 
Tempe  (1752);  in  1753  he  made  a  sensation 
with  Les  Troqueurs,  the  first  genuine  'opera 
comique';  it  resembled  the  Italian  'inter- 
mezzi with  spoken  dialogue  instead  of  recita- 
tive, and  soon  superseded  the  'corned ie  a 
ariette'  (vaudeville  with  incidental  music). 
He  produced  9  other  stage-pieces,  and  left 
3  more  in  MS.  Cf.  Du  Roure  de  Paulin,  La 
vie  et  les  ceuvres  d'A.  d'A.  (Paris,  1911). 

Aventi'nus,  Johannes  (real  name  Tur- 
mair),  b.  Abensberg  (whence  Aventinus), 
July  4,  1477;  d.  Jan.  9,  1534.  Author  of 
Annales  Boiorum  (1554),  containing  consider- 
able information,  not  wholly  trustworthy, 
about  musical  matters;  editor  of  Nicolaus 
Faber's  Musica  rudimenta  admodum  brevia,  etc, 
(1516). 

Averkamp,  Anton,  b.  Willige  Langerak, 
Holland,  Feb.  18,  1861.  Pupil  of  De  Lange 
in  Amsterdam,  Kiel  in  Berlin,  and  Rhein- 
berger  in  Munich  (comp.);  also  of  Schimon,* 
Hasselbeck  and  Messchaert  (voice).  Founded 
in  1890  the  'Amsterdamsch  A  Cappella 
Coor,'  which  soon  became  famous  for  its 
splendid  interpretation  of  early  music;  won 
golden  opinions  on  frequent  tours  of  Holland 
and  Belgium;  also  visited  Berlin  (1906)  and 
Paris  (1909).  A.  has  contributed  numerous 
articles  to  Dutch  papers;  is  knight  of  the 
order  of  Orange- Nassau;  a  dir.  of  the  'Vereen- 
iging  voor  nederlandsche  muziekgeschiedenis' 
and  'Maatschappii  tot  bevordering  van  toon- 
kunst.' — Works:  Elaine  und  Lancelot,  symph. 
poem;  2  ch.  works  w.  orch.,  Decora  Lux  and 
Die  versunkene  Burg;  2  a  capp.  choruses, 
Adstant  angelorum  chart  and  Te  Deum;  a 
sonata  for  pf.  and  vln.  in  D;  songs.  An 
opera,  De  Heidebloem,  has  not  yet  been 
produced. 

Av'ison,  Charles,  English  composer,  or- 
ganist and  writer;  b.  Newcastle-on-Tyne, 
1710;  d.  there  May  9,  1770.  St.  in  Italy; 
then  under  Gemtniani  in  London.  Organist 
in  Newcastle. — Publ.  works:  26  concertos  a  7 
(4  violins,  via.,  'cello,  bass),  12  pf. -concertos 
w.  string-quartet,  18  quatuors  f.  pf.  w.  2 
vlns.  and  'cello,  and  3  vols,  of  sonatas  f. 
harpsich.  w.  2  vlns.;  also  An  Essay  on  Mus. 
Expression  (London,  1752,  '53,  75);  also 
publ.,  with  J.  Garth,  Marcello's  Psalm-Para- 
phrases (1757),  with  Engl,  words,  and  biogr. 
of  Marcello. 

Ayers,  Frederic,  composer,  b.  Bingham- 
ton,  N.  Y.,  Mar.  17,  1876.  Pupil  of  Edgar 
Stillman    Kelley    (1897-1901)    and    Arthur 


AYRTON— BACH 


Foote  (1899).— Works:  Overture,  From  the 
Plains;  a  sonata  for  pf.  and  vln.;  a  string- 
quartet;  a  pf.-trio;  several  fugues;  songs. 

Ayr  ton,  Edmund,  English  composer  and 
org.;  b.  Ripon,  Yorkshire,  1734;  d.  West- 
minster, May  22,  1808.  Pupil  of  Nares. 
From  1780-1805,  Master  of  Children  of  the 
Chapel  Royal.  Wrote  2  full  services;  also 
anthems. 

Ayrton,  William,  son  of  preceding;  b. 
London,  Feb.  24,  1777;  d.  there  Mar.  8, 1858. 
Received  a  thorough  liberal  and  musical  edu- 
cation; one  of  the  founders  and  a  director  of 
the  London  Philh.  Soc.  As  conductor  of  the 
King's  Theatre  he  introduced  several  of 
Mozart's  operas  to  English  audiences.  1813— 
26,  critic  of 'Morning  Chronicle';  1837-51,  of 
'Examiner';  1823-33,  editor  of  the  'Har- 
monicon.'  Also  edited  Knight1  s  Musical 
Library  (1834-7),  and  Sacred  Minstrelsy 
(1835). 

Azvedo  [ahth-va-'],  Alexis-Jacob,  French 
writer  and  critic;  b.  Bordeaux,  March  18, 
1813;  d.  Paris,  Dec.  21,  1875.  Author  of 
several  valuable  monographs,  particularly 
G.  Rossini,  sa  vie  et  ses  centres  (Paris,  1865) ; 
also  of  Felicien  David  (1868);  contributor  to 
'La  France  musicale,'  'Le  Siecle,'  'La  Presse,' 
'Le  Menestrel,*  and  (1859-70)  correspondent 
to  'L 'Opinion  nationale.'  He  was  a  zealous 
partisan  of  the  Italian  school,  and  many  of 
his  criticisms  are  biased. 


B 

Bab'bi, Christoph  (Cristoforo),  violinist; 
b.  Cesena,  1748;  d.  Dresden,  1814.  From 
1781,  leader  in  the  Electoral  orch. — Works: 
Symphonies,  vln.-concertos,  and  quartets  and 
duets  for  flute. 

Babbi'ni,  Matteo,  celebrated  tenor;  b. 
Bologna,  Feb.  19,  1754;  d.  there  Sept.  22, 
1816.  Pupil  of  Cortoni;  debut  1780.  His 
great  success  brought  him  engagements  in 
London,  Petrograd,  Vienna  (1785),  and 
Berlin.  Settled  in  Paris,  a  court  favorite,  till 
the  Revolution  drove  him  back  to  Italy;  in 
1792  he  was  again  in  Berlin;  1796,  in  Trieste. 
He  died  wealthy. — Brighenti  published  an 
'Elogio'  of  B.  (Bologna,  1822). 

Bac'chius  (Senior),  Greek  theorist  (circa 
350  a.d.),  two  treatises  by  whom  are  still 
extant,  published  in  Greek,  Latin  and  French 
by  Mersenne,  Meibom,  Morel,  and  Bellermann. 

Bacfart  (or  Bacfarc,  Bacfarre,  Bek- 
wark) ,  Valentin,  a  celebrated  lutenist  whose 
real  name  was  Graew  or  Grell,  b.  Krcm- 
stadt,  1507;  d.  Padua,  Aug.  13,  1576.  Sup- 
posedly a  pupil  of  Antonio  Rotta;  lived 
1549-67  at  the  court  of  Sigismund  Augustus 


of  Poland,  from  1566-68  at  the  Imperial 
court  in  Vienna,  afterwards  in  Italy.  Publ. 
various  works  in  tablature:  Intablatura 
(Lyons,  Part  I,  1552),  Tablature  de  Luth 
(Paris,  1564),  and  Harmonics  musica,  (two 
parts,  Cracow,  1565-8). — Cf.  monograph  (in 
Polish)  by  H.  v.  Opienski,  'Bekwark,  the 
Master-Lutenist'  (1906).— See  Q.-Lex. 

Bach  is  the  name  of  the  illustrious  family 
which,  during  two  centuries,  supplied  the 
world  with  a  number  of  musicians  and  com- 
posers of  distinction.  History  possesses  few 
records  of  such  remarkable  examples  pf 
hereditary  art,  which  culminated  in  Johann 
Sebastian. 

The  genealogy  of  the  family  is  traced  to 
Hans  Bach,  born  circa  1561  at  Wechmar, 
a  little  town  near  Gotha.     Veit  Bach,  d. 
Mar.  8,  1619,  the  presumed  son  of  this  Hans, 
and  Caspar  Bach,  are  the  first  of  the  family 
concerning  whose  musical  tendencies  we  have 
any  information.    Veit  was  by  trade  a  baker, 
and   emigrated    to    Hungary;    returning   to 
Wechmar,  he  settled  there  as  a  miller  and 
baker.      His   chief   relaxation   consisted    in 
playing  on  the  zither.     His  son,  Hans,  b. 
c.   1580,  d.  Dec.  26,   1626,  was  known  as 
'der  Spiel mann/  (i.  e.,  'the  player'),  although 
he  followed  the  supplementary  occupation  of 
carpet-weaver.    He  received  instruction  from 
the    town-musician   of   Gotha,    the    above- 
mentioned  Caspar,  thought  to  have  been  his 
uncle.    As  a  travelling  violinist,  to  be  found 
at  all  the  principal  festivals,  he  was  popular 
throughout  Thuringia,  and  his  three  sons, 
Tohann,  Christoph,  and  Heinrich,  inherited 
his  ability.    The  Bach  genealogy  mentions  a 
second  son  of  Veit,  presumably  Lips  Bach 
(d.  Oct.  10,  1620),  who  also  had  three  sons, 
who  were  sent  to  Italy,  to  study  music,  by 
the  Count  of  Schwarzburg-Arnstadt.     From 
Hans  and  Lips,  the  two  sons  of  Veit,  sprang 
the  main  branches  of  the  Bach  family,  whose 
male  members  filled   so  many  positions  as 
organists,  cantors  and  Kapellmeister  through- 
out Thuringia,  that,  in  some  instances,  even 
after  there  nad  ceased  to  be  any  member  of 
the  family  among  them,  the  town- musicians 
were  known  as  'the  Bachs.'    When  the  fam- 
ilies became  numerous  and  widely  dispersed, 
they  agreed  to  assemble  on  a  fixed  date  each 
year.     Erfurt,  Arnstadt,  Steinach,  dnd  Mei- 
ningen  were  the  places  chosen  for  these  meet- 
ings, which  continued   until   the   middle   of 
the  18th  century,  as  many  as  120  persons 
of  the  name  of  Bach  then  assembling.     The 
hours,  interspersed  with  music,  were  devoted 
to  the  narration  of  their  experiences,  mutual 
criticism,  encouragement  and  advice,  and  the 
examination    of    the    compositions   of    each 
member,  which  eventually  formed  a  collec- 
tion known  as  the  Bach  Archives.    A  part  of 


36 


BACH— BACH 


this  interesting  collection  was  in  the  posses- 
sion of  Karl  Ph.  E.  Bach  at  the  end  of  the 
18th  century. 

The  principal  members  of  the  Bach  family 
are  enumerated  below,  in  alphabetical  order, 
with  their  chronological  list-numbers. 

2.  Christoph  18.  Johann  Christoph  Friedrich 

5.  Georg  Christoph        4.       "       Egidius 

3.  Heinrich  13.       "       Ernst 
1.  Johann  12.       "       Ludwig 

8.  "  Ambmaius  7.       "       Michael 
10.  "  Bernhard  11.       "       Nikolaus 
19.  "  Christian  15.       "       Sebastian 

6.  "  Christoph  17.  Karl  Philipp  Emanuel 

9.  "  "  16.  Wilhelm  Friedemann 
U.      "             "           20.  Wilhelm  Friedrich  Ernst 

• 

1.  Bach,  Johann  (eldest  son  of  Hans), 
b.  Nov.  26, 1604; d.  1673.  Org.  at  Schweinfurt, 
then  at  Sum".  In  1635,  dir.  of  the  'Raths-Mu- 
sikanten';  1647,  org.  of  the  church  at  Er- 
furt.   Left  MS.  comps.  of  considerable  merit. 

2.  Bach,  Christoph  (2nd  son  of  Hans, 
acnd  grandfather  of  johann  Sebastian),  b. 
Apr.  19,  1613;  d.  Sept.  14,  1661.  Court  and 
town-musician  of  Eisenach.  Distinguished 
organist;  left  several  organ-pieces  (in  the 
B.  Archives). 

3.  Bach,  Heinrich  (3rd  son  of  Hans), 
b.  Wechmar,  Sept.  16,  1615;  d.  Arnstadt, 
July  10,  1692.  From  1641,  organist  of  Arn- 
stadt  church  for  51  years.  Left  MS.  organ- 
pieces  and  hymn-tunes. 

4.  Bach,  Johann  Egidius  (2nd  son  of 
Johann  [1]),  b.  1645;  d.  1717.  Succeeded  his 
father  as  municipal  mus.-dir.  and  organist  of 
the  church  at  Erfurt.  Left  church-comps., 
among  others  the  motet  a  9  for  double  choir, 
Unser  Leben  ist  ein  Schatten  (1696). 

5.  Bach,  Georg  Christoph  (eldest  son 
of  Christoph  [2]),  b.  Eisenach,  Sept.  6,  1641; 
d.  April  24,  1697.  Cantor  and  composer  at 
Sichweinfurt.  His  motet,  Siche,  wie  fein  und 
lieblich,  for  two  tenors  and  bass  with  ace.  of 
vln.,  3  'celli,  and  bass,  is  in  the  B.  Archives. 

6.  Bach,  Johann  Christoph  (eldest  son 
of  Heinrich  [3]),  organist  and  composer  (in- 
strumental and  vocal)  of  the  highest  rank 
among  the  earlier  Bachs;  b.  Arnstadt,  Dec. 
6,  1642;  d.  Eisenach,  Mar.  31,  1703.  From 
1665  to  1703,  court  and  town-organist  of 
Eisenach.  Works  in  the  B.  archives:  Wed- 
ding hymn  f.  12  voices,  Es  erhub  sich  ein 
Streit,  a  comp.  of  great  beauty;  motet  f.  22 
voices,  for  the  festival  of  St.  Michael;  alto 
solo,  w.  accomp.  of  vln.,  'cello,  and  bass;  and 
2  motets  a  4.  In  MS.  in  the  Berlin  Royal 
Library:  Motet  a  8  f.  double  choir,  Lieber 
Herr  Gott,  wecke  uns  auf  (1672);  motet  a  4, 
Ich  lasse  dich  nicht;  motet  a  8,  Unseres 
Hergens  Freude  hat  ein  Ende;  motet  a  8, 
Herr,  nun  lassest  Du  deinen  Diener;  Sara- 
bande  for  clavecin  w.  12  variations;  etc. — 
See  Q.-Lex. 


37 


7.  Bach,  Johann  Michael,  brother  of 
preceding,  and  as  org.  and  composer  almost 
nis  equalin  merit;  b.  Arnstadt,  Aug.  9,  1648; 
d.  Gehren,  May,  1694.  Org.  and  town-clerk 
of  Gehren  from  1673;  also  maker  of  harpsi- 
chords, vlns.,  etc.  Composed  motets,  pre- 
ludes, and  fugues. 

8.  Bach,  Johann  Amhrosius  (2nd  son 
of  Christoph  [2]),  distinguished  org.;  b.  Er- 
furt, Feb.  22,  1645;  d.  Eisenach,  1695.  He 
was  the  father  of  J.  Sebastian.  His  twin- 
brother: 

9.  Bach,  Johann  Christoph,  d.  Arn- 
stadt, Aug.  25,  1694,  was  court  violinist  and 
'Stadtpfeiier'  at  Arnstadt  from  1671.  There 
was  such  a  remarkable  resemblance  between 
the  brothers,  in  every  particular,  voice,  ges- 
tures, moods,  and  style  of  music,  that  even 
their  respective  wives  could  distinguish  them 
only  by  the  color  of  their  clothes. — Church- 
comp.  a  4,  Nun  ist  alles  uberwunden. 

10.  Bach,  Johann  Bernhard  (son  of 
Johann  Egidius  [4]),  org.  and  comp.  f.  organ, 
one  of  the  best  of  his  generation ;  b.  Erfurt, 
Nov.  23,  1676;  d.  Eisenach,  June  11,  1749. 
Organist  at  Erfurt,  Magdeburg,  and  the  suc- 
cessor of  Johann  Christoph  [6],  at  Eisenach 
in  1703.  Also  cembalist  in  the  Duke  of  Saxe- 
Eisenach's  orch. — Works:  Harpsi^h.-pieces, 
several  chorale-arrangements  f.  org.,  and  4 
orchestral  suites,  these  latter  now  in  the 
Berlin  Royal  Library. 

11.  Bach,  Johann  Nikolaus  (eldest  son 
of  Johann  Christoph  [6]),  b.  Eisenach,  Oct. 
10,  1669;  d.  there  1753.  In  1695,  app.  org. 
at  Jena,  where  he  estab.  a  harpsichord-fac- 
tory, made  many  improvements  in  the  instrs., 
and  directed  his  efforts  to  establishing  equal 
temperament  in  pf.  and  org.-tuning.— -Works: 
Suites  f.  org.  and  harpsich.;  motets,  and  other 
sacred  comps.;  also  a  comic  operetta,  Der 
Jenaische  Wein-  und  Bier-Rufer,  a  scene  from 
Jena  college-life. 

12.  Bach,  *  Johann  Ludwig  (son  of 
Johann  Michael  [7]),  b.  St  ein  bach,  1677;  d. 
1741.  Court  Kapellm.  at  Saxe-Meiningen. 
MS.:  Requiem  f.  2  choirs,  w.  instrl.  accomp., 
in  Berlin  Royal  Library. 

13.  Bach,  Johann  Ernst  (only  son  of 
Johann  Bernhard  (10J),  b.  Eisenach,  Sept.  1, 
1722;  d.  there  Jan.  28,  1777  (1781?).  St. 
law  at  Leipzig  for  6  years,  returning  to  Eisen- 
ach and  practising  as  advocate.  In  1748  was 
app.  asst.  to  his  father,  org.  of  St.  George's 
en.;  1756,  app.  hon.  Kapellm.  at  Weimar,  w. 
pension.  Publ.  comps.,  Sonatas  f.  clavecin 
w.  vln.,  etc.;  many  others  in  MS. 

14.  Bach,  Johann  Christoph  (brother 
of  Johann  Sebastian,  and  eldest  son  of 
Johann  Ambrosius  [8]),  b.  Erfurt,  June  16, 


BACH— BACH 


1671;  d.  Ohrdruf,  Feb.  22,  1721.  He  was 
organist  at  Ohrdruf,  and  his  distinguished 
brother's  teacher  on  the  clavichord. 

15.  Bach,  Johann  Sebastian,  the  most 
famous  of  the  family,  and  one  of  the  great 
masters  of  music;  b.  Eisenach,  Mar.  21  (bapt. 
Mar.  23),  1685;  d.  Leipzig,  July  28,  1750. 
He  first  learned  the  violin  from  his.  father 
(J oh.  Ambrosius  [8]).  His  mother,  Elizabeth, 
nee  Lammcrhirt,  was  a  native  of  Erfurt. 
Both  his  parents  dying  in  his  tenth  year,  he 
went  to  live  with  his  brother,  Johann  Chris- 
toph  [14],  at  Ohrdruf,  who  taught  him  the 
clavichord;  but  the  boy's  genius  soon  out- 
stripped his  brother's  skill,  and  led  to  some- 
what harsh  treatment  by  the  latter.  Unable 
to  obtain  the  loan  of  a  MS.  vol.  of  works  by 
composers  of  the  day,  Sebastian  secretly  ob- 
tained possession  of  the  work,  and,  by  the 
light  of  the  moon,  painfully  and  laboriously 
copied  the  whole,  within  six  months,  only  to 
have  it  taken  from  him,  when  his  brother 
accidentally  found  him  practising  from  it. 
He  recovered  it  when  his  brother's  death  oc- 
curred shortly  after.  Left  to  his  own  re- 
sources, J.  S.  went  to  Ltineburg  with  a  fellow- 
student  named  Erdmann,  and  both  were  ad- 
mitted as  choristers  at  St.  Michaels  ch.,  also 
receiving  aratituous  scholastic  education.  The 
fame  of  the  family  had  preceded  Sebastian, 
for  in  the  choice  collection  of  printed  and' 
MS.  music  of  the  ch.  were  to  be  found  the 
comps.  of  Heinrich  and  J.  Christ oph  B.  [6]. 
A  fellow-Thuringian,  George  Bohm,  was  the 
org.  of  St.  John  s  ch.,  ana  Bach  attentively 
studied  his  compositions.  He  also  often  went 
on  foot  to  Hamburg,  to  hear  the  famous  old 
Dutch  organist  Reinken,  and  to  Cellc,  where 
French  music  was  exclusively  used  in  the 
services  of  the  -Royal  Chapel.  With  inde- 
fatigable industry  he  developed  his  technical 
skill  on  the  violin,  clavichord,  and  organ,  and 
perfected  himself  in  the  art  of  composition; 
often  working  and  studying  the  whole  night 
through.  In  1703  he  became  violinist  in  the 
Weimar  court  orch.,  but  the  following  year 
quitted  this  post  for  the  more  congenial  one 
of  org.  of  the  new  church  at  Arnstadt.  Some 
of  his  comps.  of  this  early  period,  for  clavi- 
chord and  organ,  are  of  importance.  In  1705 
he  obtained  leave  of  absence,  and  walked  to 
Ltibeck,  to  make  the  acquaintance  of  the 
famous  organist  Dietrich  Buxtehude.  He 
was  so  impressed  with  this  master's  style, 
that  he  trebled  his  leave  of  absence,  and  re- 
turned only  after  a  peremptory  summons 
from  the  church-consistory  of  Arnstadt.  He 
received  favorable  offers  from  different  places, 
and  June  29,  1707,  accented  the  app.  as 
org.  at  Miihlhausen.  On  Oct.  17  he  married 
his  cousin,  Maria  Barbara  Bach,  daughter  of 
Johann  Michael  [7].    The  following  year  he 


38 


went  to  Weimar,  played  before  the  reigning 
duke,  and  was  at  once  offered  the  post  of 
court  organist.  In  1714  he  was  made  'Con- 
certmeister.'  All  this  time  he  was  writing 
much  church-  and  organ-music.  In  his 
autumn  vacations  he  made  professional 
clavichord-  and  organ-tours.  In  1713  he 
visited  Kassel  and  Halle,  Leipzig  in  1714 
(where  he  furnished  all  the  organ-music  for  a 
service  cond.  in  the  Thomaskirche,  and  prod, 
a  cantata),  Halle  again  in  1716,  and  Dresden 
in  1717.  In  this  town  his  challenge  to  Mar- 
chand,  a  French  organist  of  high  reputation, 
was  evaded  by  the  latter's  failure  to  appear. 
In  1717  B.  was  app.  Kapellm.  and  director  of 
chamber-music  to  Prince  Leopold  of  Anhalt, 
at  Kothen,  and  this  period  is  especially  rich 
in  the  production  of  orchestral  and  chamber- 
music.  In  1719  he  revisited  Halle,  hoping  to 
meet  Handel;  but  the  latter  had  just  left  for 
England.  In  1720,  during  his  absence  at 
Carlsbad,  his  wife  died  suddenly.  In  the 
autumn  of  the  same  year  he  applied,  though 
(owin£  to  bribery)  without  success,  for  the 
orgamstship  of  the  Jacobikirche,  Hamburg. 
Here  he  again  met  the  aged  Reinken,  whose 
admiration  he  excited  by  his  brilliant  play- 
ing. In  1721  he  married  his  second  wife, 
Anna  Magdalene  Wulken,  a  daughter  of  the 
court-trumpeter  at  Wcissenfels.  Thirteen 
children  were  born  to  them.  Of  highly- 
cultured  musical  taste,  she  participated  in  his 
labors,  and  wrote  out  the  parts  of  many  of 
his  cantatas.  B.  prepared  2  books  of  music 
especially  for  her.  In  May,  1723,  he  succ. 
Johann  Kuhnau  as  cantor  at  the  Thomas- 
schule,  Leipzig,  becoming  also  org.  and  dir. 
of  music  at  the  two  principal  churches,  the 
Thomaskirche  and  tne  Nicolaikirche,  and 
continuing  in  the  service  of  Prince  Leopold 
of  Anhalt  as  'Kapellm.  von  Haus  aus.'  He 
further  received  the  app.  of  hon.  Kapellm. 
to  the  Duke  of  Weissenlels,  and,  in  1736,  that 
of  court  composer  to  the  King  of  Poland, 
Elector  of  Saxony.  He  remained  in  his  post 
at  Leipzig  for  27  years,  and  there  composed 
most  of  his  religious  music.  He  often  visited 
Dresden,  where  his  eldest  son,  Wilhelm 
Friedemann,  was  app.  in  1733  organist  of  the 
Sophienkirche.  On  these  occasions  he  fre- 
quently attended  the  Italian  opera,  then 
cond.  by  Hasse.  His  second  son,  Karl  Philipp 
Emanuel,  was  app.  in  1740  chamber-musician 
to  Frederick  II  of  Prussia.  He  communicated 
to  his  father  the  king's  oft-expressed  wish  to 
see  and  hear  him;  and  on  May  7,  1747,  with 
his  son  Wilhelm  Friedemann,  B.  arrived  at 
Potsdam..  Here,  at  the  king's  request,  he 
tried,  and  improvised  upon,  the  various  Sil- 
bermann  pianos  in  the  different  rooms  of  the 
palace,  to  the  admiration  of  his  royal  host, 
and  of  the  musicians  who  followed  them  from 
room  to  room.    The  next  day  B.  tried,  in  a 


BACH— BACH 


similar  manner,  the  principal  organs  in  Pots- 
dam, finally  improvising  a  6-part  fu^ue  on  a 
theme  proposed  by  the  king.  On  his  return 
to  Leipzig*  he  wrote  a  3-part  fugue  on  this 
theme,  a  Kicercare  in  6  parts,  several  canons 
inscribed  Thetnalis  regit  elaboraliones  canoni- 
cal, and  a  Trio  for  flute,  violin  and  bass; 
dedicating  the  whole  to  Frederick  as  a  Mu- 
sikalisches  Opfer. —  Bach  was  nearsighted 
from  childhood,  and  later  his  eyes  showed 
symptoms  of  weakness,  probably  due  to  the 
strain  of  his  youthful  night-labors;  in  1749 
an  unsuccessful  a  operation  resulted  in  total 
blindness,  and  his  hitherto  robust  health  also 
declined.  His  sight  was  suddenly  restored 
on  July  10,  1750;  but  ten  days  later,  stricken 
by  apoplexy,  he  died.  He  worked  to  the 
end,  dictating  the  chorale  Vor  deinen  Thron 
tret*  ich  hiermil,  his  last  composition,  a  few 
days  before  his  death. 

Clearness  and  acutenessof  intellect,  strength 
of  will,  irresistible  persistency,  a  love  of  order, 
and  a  high  sense  of  duty,  were  his  leading 
characteristics.  His  home-life  was  of  the 
happiest  description.  Among  the  long  list  of 
his  distinguished  pupils  were  Johann  Ludwig 
Krebs,  Gottfried  August  Homilhis,  Johann 
Friedrich  Asricola,  Philipp  Kirnberger,  Jo- 
hann Theopnilus  Goldberg,  Marpurg,  Joh. 
Kaspar  Vogler;  also  his  own  sons  Wilhelm 
Friedemann,  Karl  Philipp  Emanuel,  and  Jo- 
hann Christoph  Friedrich,  for  whose  instruc- 
tion he  wrote  the  Clavierbuchlein  and  the 
Kunst  der  Fuge.  He  engraved  several  of  his 
own  works  on  copper;  invented  the  'viola 
pomposa'  (an  instrument  between  viola  and 
cello),  and  t  a  'Lauten-Clavicembalum'  (a 
clavichord  with  catgut  strings) ;  he  promoted 
the  adoption  of  the  tempered  system  of  tun- 
ing keyboard  stringed  instrs.;  and  introduced 
the  style  of  fingering  which,  with  compara- 
tively few  modifications,  is  still  in  use. 

Bach's  compositions  mark  an  epoch.  They 
are  a  fusion  of  two  eras — the  polyphonic 
contrapuntal  (thematic  development  by  strict 
and  free  imitation)  and  the  harmonic  tonal 
(chord-combinations  founded  on  the  modern 
system  of  major  and  minor  keys).  His  origin- 
ality and  fecundity  of  thematic  invention 
are  astounding;  moulded  with  his  consum- 
mate contrapuntal  art,  and  the  freedom  born 
of  full  mastery,  polyphonic  structures  were 
reared  which  will  be  the  admiration  of  ages. 
His  style  is  elevated,  and  of  sustained  indi- 
viduality in  melody,  rhythm,  and  harmony; 
the  momentum  of  his  grand  fugues  is  inex- 
orable as  the  march  of  Fate.  As  an  inex- 
haustible mine  for  study,  the  complete  critical 
edition  published  1851-1900  in  60  volumes  by 
the  'Bach-Gesellschaft,'  a  society  founded  in 
}j*50  by  Schumann,  Otto  Jahn,  Hauptmann, 
K.  F.  Becker,  and  the  publisher  Hartel,  de- 
mands special  recognition.      The  Schirmer 


Complete  Edition  of  Bach's  Organ  Works,  in 
8  volumes,  ably  edited  by  Charles-Marie 
Widor  and  Dr.  Albert  Schweitzer  (5  vols, 
publ.  up  to  1916;  the  others  delayed  by  the 
European  war),  with  voluminous  Notes  and 
directions  for  playing,  is  unique.  The  Peters' 
edition  of  B.'s  works  is  also  valuable.  Few  of 
them  were  publ.  during  his  lifetime;  Mizler's 
'Musikaliscne  Bibliothek'  (1754)  contains  an 
almost  complete  catalogue.  Bach's  import- 
ance was  but  meagerly  appreciated  by  his 
contemporaries,  and  for  half  a  century  after 
his  death  he  was  practically  ignored.  Some 
few  works  were  then  occasionally  performed, 
or  even  published;  but  Mendelssohn,  by  a 
performance  of  the  St.  Matthew  Passion  at 
Berlin,  in  1829,  first  drew  general  attention 
to  the  great  value  of  Bach's  comps.  The  cen- 
tenary of  his  death  (1850)  was  marked  by  the 
formation,  at  Leipzig,  of  the#  'Bach-Gesell- 
schaft.' 'Bach-Vereine,'  societies  for  the  cul- 
tivation and  production  of  B.'s  music,  exist  at 
Leipzig,  Berlin,  London,  and  in  many  other . 
European  cities. 

Works:  Vocal:  The  5  sets  of  sacred  Can- 
tatas for  every  Sunday  and  feast-day,  already 
mentioned,  besides  several  special  ones,  e.  g., 
Golies  Zeit  ist  die  beste  Zeit,  and  the  Trauerode 
on  the  death  of  the  Electress  of  Saxony;  5 
Passions,  including  the  gigantic  St.  Matthew, 
the  St.  John,  and  the  doubtful  St.  Luke;  a. 
Christmas  Oratorio,  in  5  parts;  Grand  Mass  in 
B  m.,  and  4  smaller  do.;  motets;  2  Magnifi- 
cats; 5  Sanctus;  many  secular  cantatas,  in- 
cluding two  comic  ones. — Instrumental:  Very 
numerous  pieces  f.  pf.  (i.  e.,  clavichord): — 
Inventions  in  2  and  3  parts;  6  'small'  French 
suites;  6  'large'  English  suites;  Preludes  and 
Fugues,  including  the  Wohltemperirtes  Clavier 
in  2  parts  with  its  48  Preludes  and  Fugues  in 
all  keys  (cf.  art.  Busoni);  pf. -sonatas  w.  one 
or  more  instrs.,  among  them  the  famous  6 
sonatas  for  pf.  and  vln.;  solo  sonatas  f.  violin 
and  'cello;  solos,  trios,  eta, etc.,  for  different 
instrs.  in  various  combinations;  concertos  for 
1  to  4  pfs.;  violin  and  other  instrl.  concertos 
with  orchl.  overtures  and  suites;  and  many 
organ  comps.  (fantasias,  toccatas,  preludes, 
fugues,  ana  chorale-arrangements). 

Bibliography.  —  A.  Biographical:  B.'s 
earliest  biographers  were  his  son,  K.  Ph. 
E.  Bach  and  J.  F.  Agricola  in  Mizler's  4Mu- 
sikalische  BibliothekT  (Leipzig,  1754;  IV,  1. 
pp.  158-76);  J.  N.  Forkel,  Vber  J.  5.  B.'s 
Leben,  Kunst  u.  Kunstwerke  (Leipzig,  1802; 
Engl,  transl.  by  Wesley,  London,  1820;  Fr. 
transl.  by  Grenier,  w.  notes,  Paris,  1876); 
C.  L.  Hilgenfeldt,  B.'s  Leben,  Wirken,  u. 
Werke  (1850);  C.  H.  Bitter,  J.  S.  B.  (2  vols., 
Berlin,  1865;  2d  ed.,  4  vols.,  1880);  Ph. 
Spitta,  /.  S.  B.  (2  vols.,  Leipzig,  1873-80; 
Engl,  transl.  by  C.  Bell  and  J.  A.  Fuller- 
Maitland,    3    vols.,    with    many   additions, 


39 


BACH— BACH 


London  1884-5;  2d  ed.,  1899);  R.  L.  Poole, 
foB,:  (London,  1882);  H.  Barth,  /.  S.  B. 
^  u,ini5r  o02);  A.  Pirro,  £.   (Paris.   1906); 

?6(S<  ^P1JPfc  *  S'  ?'  (N'  Y-  and  London 
1909  ^  ^°if.rum'  ^  5-  B-  (2  vols.,  Leipl 
Zl%  i91W>  J-  Tiersot,  B.  (Paris,  1912). 

b.  Critical,  Analytical:  M.  Haupt- 
mznn,  Erlduterung  zu  J.  S.  B.'s  Kunst  der 
Fuge  (Leipzig,  1841);  R.  Franz,  Vber  Bear- 
oettungen  dlterer  Tonwerke,  namentlich  Bach- 
scher  u.  Hdndelscher  Vokalmusik  (Leipzig. 
1871;   new  ed.   as   Ges.   Schriften  uber  die 

%t'n'  !91,°);  ft  Tudor'  Das  R'roentum  in 
der  Deutsche  Musik  (1891;  a  study  of  the 
music  of  Bach,  Beethoven  and  Wagner); 
H.  Kiemann,  Katechismus  der  Fuge  (3  vols. 
Leipzig  1890-1;  3rd  ed.,  1914;  I  compete 
analysis  of  Das  wohltemperirte  Klavier  and 
Kunst  der  Fuge;  Enel.  transl.  by  J.  S.  Shed- 
lock    London,   1893);   A.  Pirro,  VOrgue  de 

£  SJ  r:  <£"%"  1894;  En?L  transl-  by  W. 
Goodrich,  N.  Y.,  1902);  W.  His,  J.  S.  B. 

torschungen  uber  dessen  Grabstdtte,  Gebeine  u. 
AntlUz J  (Leipzig   1895);  B.  Todt,  Vademecum 
durch  die  Bachschen  Cantaten  (Leipzig,  1895): 
\sS^n{^USm  B"HmoUMesse  (Frankfort 
/•I  5)i;ooc^nSnn; J' S'  B-  MaUhauspassion 

Relation  to  hts  Work  as  a  Church  Musician 
and  Composer  (Cambridge,  1897);  F.  Iliffe, 

don  1897);  W.  Carte,  Aude  sur  J.  S.  B. 
l2"d  *uJm-  «d«.  Paris  1898);  P.  I.  Mayr- 
hofer,  B.-Studten  Asthetische  u.  technische 
Ftngerzetge  sum  Studium  der  Bachschen  Orgel- 
?™f?B7€f?*,£*  (voK  »•  Orgelwerke,  Leipzig, 
192i;tvJ-A  fuUer.Maitland.  The  Age  SfB. 
and  Handel  (Vo\.  iv  of  the  Oxford  Hist,  of 
Mus.,  Oxford,  1902);  A.  Schweitzer,  /.  S.  £., 

ed     1908;  Engl,  transl.  by  E.   Newman    2 

J.  S.  B.  (Pans,  1907);  A.  Heuss,  J   S   B  *s 
MaUhduspassion   (Leipzig,    1909);  A.  Blass, 
Wegwetser  zu  J.  S.  B.  (Berlin,  1909);  F  HasI 
hagen,  /.  S.  B.  als  Sanger  u.  Musiker  des 
Evangeliums  u.  der  luiherischen  Reformation 
£Vl,?mar'  1909>  •'  G-  Robert,  Le  descriptif  chez 
£'  ffiSF»  1909);  J-  Schreyer,  Beitr&ee  zur  B.- 
KrUtk  (2  vols.,  Dresden,  1910-12)  ;W.  Voigt,  Die 
Kirchenkantaten  J.  S.  B.'s  (Stuttgart,  1911) 
Under  the  auspices  of  the  'Neue  Bachge- 
sellschaft'    (founded   at   Leipzig,    1903),   A. 
^henng  began  in  1904  the  publication  of  a 
Bach-Jahrbuch';  the  various  vols,  contain 
much  valuable  material.     The  same  assoc 
also  publ.  /.  S.  B.'s  Handschrift  in  ztitlichfe- 
ordneten  Nachbildungen  (Leipzig,  19U)       * 

J&'  „?ach»  Wilhelm  Frledemann  (Bach 
of  Halle),  eldest  son  of  J.  Sebastian;  b.  Wei- 
mar, Nov.  22,  1710;  d.  Berlin,  July  1,  1784. 

40 


Pupil  of  his  father  (pf.),  and,  at  15  years  of 
age,  of  Graun  at  Merseburg  (vln.).    Also  st 
at  the  Thomasschule,  and  at  the  Univ    of 
Leipzig,   where  he  distinguished   himself  in 
mathematics      Org.  pf   the   Sophienkirche, 
P?1^?'  ^^^of  the  Marienkirche,  Halle 
1747-64.     Of  superior  gifts,  grand  organist, 
dexterous  fugue-player,  and,  after  his  father, 
the  most  clever  musician  in  Germany    he 
unfortunately  gave  way  to  dissipation,  'was 
removed  from  his  offices,  and  died  in  misery. 
MS.  works  in  the  Berlin  Royal  Library;  many 
have  been  printed.     Cf.  M.  Falck,    W    F 
Bach.    Sein  Leben  u.  seine  Werke,  m\  themat. 

Yj^Jl^chni5S  seiner  Kompositionen   (Leipzig 
1913).— See  also  Q.-Lex.  P  *' 

D  1J;     Bach»  Karl  Philipp  Emanuel  {the 
Berlin  or  Hamburg  Bach),  3rd  [and  2nd  sur- 
viving] son  of  J.  Sebastian;  b.  Weimar,  Mar. 
'  l:1?5  ?:,  Hamburg,  Dec.  14,   1788.     He 
studied  philosophy  and  law  at  Leipzig  and 
Frankfort-on-the-Oder;    but    the    inherited 
passion  for  music,  and  completeness  of  mu- 
sical study  under  his  father,  decided  his  pro- 
fession.    He  conducted  a  singing-society  at 
Frankfort,  for  which  he  also  composed.     In 
1738  he  went  to  Berlin,  and  was  app.  cham- 
ber-musician and  clavecinist  to  Frederick  the 
Great.    In  1767  he  went  to  Hamburg,  succ. 
Telemann  as  'Musikdirector'  of  the  principal 
church  there,  a  position  he  held  until  death. 
He  was  one  of  the  most  brilliant  performers 
of  his  time,  and  his  compositional  style  was 
light,  pleasing,  and  elegant,  rather  than  of 
great  profundity.    He  may  be  looked  upon  as 
the  father  of  the  modern  school  of  pf. -play- 
ing, originator  of  the  sonata-  and  symphony- 
forms,  later  perfected  by  Haydn,    Mozart 
and  Beethoven,  and  a  promoter  of  orchestra 
development.      His    important     theoretical 
work,  Versuch  Uber  die  wahre  Art,  das  Clavier 
zu  spielen  (2  parts,  1753-62),  clumsily  reSdited 
by  Schelling  in  1857;  new  ed.  by  W.  Nie- 
mann, 1906),  contains  detailed  explanations 
concerning  the  embellishments  in  clavichord- 
playing.     His  compositions  are  also  volumi- 
nous (thematic  list  by  A.  Wotquenne,  1905); 
tor  clavier  they  number  210  solo  pieces;  52 
concertos  w.   orch.;    quartets,   trios,   duets, 
f°.nata?  (v.  Bulow  edited  6  for  the  Peters' 
fcd.;  L.  F.  Baumgart  edited  the  entire  So- 
natensammlung  fiir  Kenner  und  Liebhaber,  in 
6  books,  for  Leuckart),  sonatinas,    minuets, 
polonaises,    solfeggi,    fugues,    marches,    etc. 
Also  18  orchl.  symphs.;  34  miscellaneous  pes., 
f.  wind-instrs.;  trios  f.  fl.»  vln.,  and  bass;  do. 
f.  vln.  and   bass;  flute-,   'cello-,  and  oboe- 
concertos;  soli  f.  fl.,  viola  di  gamba,  oboe, 
'cello,  and  harp;  duets  f.  fl.  and  vln.;   f.   2 
vlns.;  f.  2  clarinets. — Vocal:   2  oratorios,  Die 
Israelite*  in  der  Waste,  and  Die  Auferstehune 
und  Himmelfahrt  Jesu;  22  Passions;  cantatas- 


BACH— BACHE 


etc.— Cf.  K.  H.  Bitter,  K.  Ph.  E.  Bach  und 
W.  Friedemann  Bach  und  deren  Bruder  (2 
vols.,  Berlin,  1868);  M.  Flueler,  Die  nord- 
deutsche  Symphonic  sur  Zeit  Friedrichs  des 
Grossen,  und  besonders  die  Werke  Ph.  E. 
Backs  (Berlin,  1909).— See  Q.-Lex. 

1 8.  Bach,  Johann  Christoph  Friedrich 

(the  Buckeburg  Bach)f  9th  son  of  J.  Sebastian; 
b.  Leipzig,  June  21,  1732;  d.  Buckeburg, 
Jan.  26,  1795.  Also  st.  law  at  Leipzig,  but 
adopted  the  profession  of  music,  and  was 
app.  Kapellm.  at  Buckeburg,  with  a  salary 
of  1,000  thalers.  MS.  works  in  Berlin  Royal 
Library:  Sacred  cantatas  w.  instrl.  accomp.; 
oratorio,  the  Resurrection  of  Lazarus,  for  4 
voices  and  orch.;  instrl.  symphs.;  concertos, 
quartets,  trios,  vln. -quartets,  sonatas,  and 
miscellaneous  pieces.  Theatrical  cantata, 
Pygmalion.  Opera,  Die  Amerikanerin. — See 
Q.-Lex. 

19.  Bach,  Johann  Christian  (the  Milan 
or  English  Bach),  11th  and  youngest  surviv- 
ing son  of  J.  Sebastian;  b.  Leipzig  [bapt. 
Sept.  7],  1735;  d.  London,  Jan.  1,  1782.  In 
his  14th  year,  on  the  death  of  his  father,  he 
went  to  Berlin,  to  study  with  his  brother 
K.  Ph.  Emanuel.  In  1754  he  became  org. 
of  Milan  cath.  His  technical  talents,  and 
vocal  comps.  in  popular  style,  won  him  great 
favor.  In  1759  tie  accepted  an  app.  as  con- 
cert-director in  London,  and  was  also  app. 
mus.-master  to  the  Queen  and  Royal  Family. 
In  1763  he  prod,  his  opera  Orione,  ossia  Diana 
vendicata;  followed  by  several  others,  with 
brilliant  temporary  success.  Cf.  M.  Schwarz, 
J.  Chr.  B.,  in  'Sbd.  Int.  M.-G./  II,  3.— See 
Q.-Lex. 

20.  Bach,   Wilhelm'  Friedrich    Ernst 

(son  of  Johann  Christoph  Friedrich  [18],  and 
grandson  and  last  male  descendant  of  J. 
Sebastian),  b.  Buckeburg,  May  27,  1759;  d. 
Berlin,  Dec.  25,  1845.  St.  with  his  father, 
and  with  his  uncle  Johann  Christian,  in 
London,  and  there  became  esteemed  as  a 
teacher,  pianist  and  organist.  On  his  uncle's 
death,  he  went  to  Pans  and  gave  concerts. 
In  1789,  produced  a  cantata  at  Minden  be- 
fore Friedrich  Wilhelm  II,  who  app.  him 
Kapellm.;  he  was  afterwards  app.  pianist  to 
Queen  Louise,  and  music-master  to  the  royal 
princes.  On  the  Queen's  death,  he  was  pen- 
sioned.— Comps.:  Cantatas,  songs,  pf. -music 
and  instfl.  works;  a  few  have  been  publ. 

Bach,  Albert  Bernhard  [real  family-name 
Bak],  was  born  in  B.  Gyula,  Hungary,  Mar. 
24,  1844;  d.  Edinburgh,  Nov.  19,  1912.  St. 
under  Marchesi  at  the  Vienna  Cons.  1869- 
70;  also  with  Cunio,  Weiss  and  Gansbacher. 
In  1871  he  gave  his  first  concerts,  as  a  bass- 
baritone  singer,  at  Vienna  ^  from  1876-7  he 
studied  at  Milan  for  Italian  opera  under 
Lamperti,  Ronconi,  and  Varesi;  was  eng.  at 


La  Scala  1877-8,  and  in  1879  at  the  Court 
Opera,  Pest  (reengaged  in  1885);  after  1886 
sang  in  oratorio  and  concert  (Great  Britain, 
also  Germany).  As  a  concert-singer  his  spe- 
cialty was  Loewe  (he  was  a  mem  bee  of  the 
Berlin  Loewe- Verein).  Publ.  lectures  on 
Raphael,  Mozart  and  the  Renaissance  (1883); 
Sound,  Light  and  Color  (1899).  Edited  3 
vols,  of  Loewe  Ballades  w.  Engl,  transl., 
Preface,  etc. 

Bach,  August  Wilhelm,  b.  Berlin,  Oct. 
4,  1796;  d.  there  Apr.  15,  1869.  Organ-virtu- 
oso; 1822,  teacher  at  the  R.  Inst,  for  Church- 
music;  1832,  followed  Zelter  as  Director;  in 
1858,  'Professor.'  Member  of  the  Berlin 
Acad.  Composed  the  oratorio  Bonifacius, 
and  the  'sacred  drama'  Iphigenia  in  Delphi. 
Mendelssohn  was  his  pupil  in  organ-playing. 

Bach,  Leonhard  Emil,  pianist  and  com- 
poser; b.  Posen,  March  11,  1849;  d.  London, 
Feb.  15,  1902.  Pupil  of  Th.  Kullak  (pf.)  and 
of  Wuerst  and  Kiel  (theory).  1869,  teacher 
in  Kullak's  Academy,  Berlin;  1874,  court 
pianist  to  Prince  George  of  Prussia.  From 
1882,  teacher  in  the  Guildhall  Sch.  of  Music 
in  London. — Works:  A  1-act  opera,  Irmen- 
gard  (London,  1892;  v.  succ);  1-act  opera, 
The  Lady  of  Longford  (London,  1894;  succ); 
2-act  comic  opera,  Des  Konigs  Garde  (Co- 
logne. 1895;  succ);  a  comic  opera,  Das 
Tabakskollegium  (MS.);  and  many  salon 
pieces  for  pf. 

Bach,  (Dr.)  Otto,  b.  Vienna,  Feb.  9,  1833; 
d.  Unter-Waltersdorf,  July  3,  1893.  Pupil  of 
Sechter,  then  of  Marx  (Berlin)  and  Haupt- 
mann  (Leipzig).  Kapellm.  at  several  German 
theatres;  1868,  artistic  director  of  the  Mo- 
zarteum,  Salzburg,  and  Kapellm.  at  the 
cathedral;  since  April  1,  1880,  Kapellm.  at 
the  new  Votivkircne  at  Vienna. — Works:  5 
operas,  Sardanapal  (1860[?J);  Die  Liebesprobe 
[Der  Lowe  von  Salamanka]  (Augsburg,  1867); 
DieArgonauten  (1870) \Lcnore  (Gotha",  1874); 
Medea  (?);  Der  Blumen  Roche,  ballad  f.  ch. 
and  orch.;  4  symphonies;  overture  Elektra; 
Requiem,  masses,  choruses,  and  chamber- mus. 

Bachaus,  Wilhelm.    See  Backhaus. 

Bache  [batch],  Constance,  b.  Edgbaston, 
March  11,  1846;  d.  Montreux,  June  28,  1903. 
The  sister  of  F.  E.  and  Walter  Bache,  she 
studied  at  the  Munich  Cons.,  and  subse- 
quently under  Klindworth  and  Frits  Hart- 
vigson;  an  accident  to  her  hand  cut  short  her 

Eianistic  career,  and  in  1883  she  settled  in 
ondon  as  a  teacher  and  musico-literary 
worker.  Her  interesting  volume,  Brother 
Musicians,  portrays  her  brothers'  lives;  she 
translated  the  books  of  Liszt's  St.  Eliza- 
beth, Schumann's  The  Rose's  Pilgrimage  and 
Faust  Scenes,  Mozart's  Bastien  et  Bastienne, 
and  Humperdinck's  Hansel  und  Gretel;  also 


41 


BACHE— BACKHAUS 


Liszt's  Letters  (2  vols.,  1894),  Hans  von 
Billow's  Letters  and  Literary  Remains 
(1896),  Heintz's  analyses  of  Tristan  und 
Isolde,  Die  Meister singer,  and  Parsifal,  and 
other  works;  also  composed  the  songs  To  my 
love  and  The  rain  is  falling. 

Bache,  Francis  Edward,  b.  Birmingham, 
Sept.  14,  1833;  d.  there  of  consumption, 
Aug.  24,  1858.  Pupil  of  Mellon  (vln.),  and 
Bennett  (theory);  1853-5  at  Leipzig  Cons. 
(Plaidy  and  Hauptmann).  A  gifted  composer. 
—Works:  2  operas,  Which  is  which?  (1851), 
and  Rubezahl  (1853);  concerto  for  pf.  and 
orch.,  in  E;  a  pf.-trio;  solo  pieces  for  pf.; 
songs,  etc. 

Bache,  Walter,  excellent  pianist,  brother 
of  preceding;  b.  Birmingham,  June  19,  1842; 
d.  London,  March  26,  1888.  Pupil  of  J. 
Stimpson  (org.  of  Birm.  Town  Hall),  and 
(1858-61)  of  Plaidy,  Moschelcs,  Hauptmann 
and  Richtcr  at  Leipzig.  1862-5,  studied  with 
Liszt  at  Rome;  also  began  his  career  as  a 
concert-giver  and  teacher.  1865?  returned  to 
London.  He  was  an  ardent  disciple  of  Liszt, 
and  did  much  to  introduce  his  works  to  the 
British  public.  It  was  mainly  through  his 
efforts  that  the  Liszt  scholarship  was  founded 
at  the  R.  A.  M.,  where  he  was  prof,  of  pf.  for 
several  years. 

Bachmann,  Alberto  Abraham,  b.  Gene- 
va, Switzerland,  March  20, 1875.  Studied  vln. 
at  the  Cons,  of  Lille,  winning  first  prize  in 
1884;  then  pupil  of  Ysaye  (1885-8),  Thomson 
(1888-9),  Hubay  (1890-1),  Brodsky  (1891), 
Petri  (1891-4);  has  made  extended  tours  of 
Europe;  in  U.  S.,  1916;  recipient  of  many 
orders  of  France,  Spain,  Portugal,  Denmark, 
Turkey  and  Persia.  Has  publ.  a  vln.-sonata 
in  D  m.;  2  vln. -concertos  (G  m.,  A  m.); 
about  250  pieccsfor  vln.  and  an  equal  num- 
ber of  transcriptions  for  vln.  Author  of  Les 
grands  violinistes  du  passe  (Paris,  1913;  an 
authoritative  work) ;  he  Violon  (1906) ;  Gym- 
nastique  &  V usage  des  violinistes  (1914).  At 
present  (1916)  he  is  engaged  on  a  large 
Encyclopedic  du  Violon. 

Bachmann,  Anton,  court- musician  and 
instrument-maker  at  Berlin,  inventor  of  the 
machine-head  method  of  tuning  'celli  and 
double-basses;  b.  1716;  d.  Mar.  8,  1800. — 
Karl  Ludwig  B.,  his  son  and  successor,  b. 
1743,  d.  1809,  was  a  good  viola-player,  be- 
longing to  the  royal  orch.;  his  wife,  Char- 
lotte Raroline  Wilhelmine  B.,  nee  Stdwe, 
b.  Berlin,  Nov.  2,  1757;  d.  Aug.  19,  1817, 
was  a  pianist  and  excellent  singer,  being  a 
member  of  the  Berlin  'Singakademie'  under 
Fasch. 

Bach'mann,  Georg  Christian,  clarinet- 
tist; b.  Paderborn,  Jan.  7,  1804;  d.  Brussels, 


Aug.  28,  1842,  as  soloist  in  the  royal  orch., 
and  Cons,  teacher.  Also  celebrated  as  a 
clarinet-maker. 

Bach'mann,Gottlob,  organist  and  comp.; 
b.  Bornitz,  Saxony,  March  28,  1763;  d.  Zeitz, 
April  10,  1840.  Pupil  of  Freeh  at  Zeitz;  also 
st.  (1785)  in  Leipzig,  and  (1790)  in  Dresden 
with  Naumann.  1791,  organist  at  Zeitz. — 
Works:  3  Singspiele,  a  cantata,  many  ballads 
and  songs,  3  symphonies,  much  chamber- 
music,  numerous  pt.-pieces. — See  Q.-Lex. 

Bach'mann,  Pater  Sixtus,  b.  Ketters- 
hausen,  Bavaria,  July  18,  1754;  d.  March- 
thai,  n.  Vienna,  1818.  Brilliant  organist  and 
ftianist,  of  remarkable  precocity  and  wonder- 
ully  retentive  memory.  At  9  he  is  said  to 
have  played  by  heart  over  200  pieces;  in  1766 
he  held  his  own  in  an  organ  competition  with 
Mozart,  then  10  years  old,  at  Biberach.  He 
became  a  Premonstrant  monk  at  March  thai. 
— Works:  Numerous  masses,  highly  esteemed; 
cantatas,  symphonies,  sonatas,  vln.-quartets, 
orpan-fugues.  Publ.  works:  4  pf. -sonatas; 
Diver  si  Pezzetti;  organ-fugue  alia  toppa. 

Bach'ofen,  Johann  Kaspar,  b.  Zurich, 
1697 ;  d.  there  June  24, 1755.  Singing-master, 
organist,  director,  and  composer  of  sacred 
compositions  once  very  popular  in  Switzer- 
land.— See  Q.-Lex. 

Bach 'rich,  Sigismund,  violinist  and  dra- 
matic composer;  b.  Zsambokreth,  Hungary, 
Jan.  23,  1841;  d.  Vienna,  July  16,  1913.  St. 
m  Vienna  Cons.,  1851-7,  under  B6hm  (vln.); 
was  for  a  short  time  conductor  of  a  small 
Viennese  theatre;  went  to  Paris  in  1861,  but 
returned  after  a  few  years  to  Vienna;  was  for 
12  years  a  member  of  the  Hellmesbcrger 
Quartet,  and  (till  1899)  teacher  at  the  Cons.; 
also  solo  viola  in  the  Philh.  and  Opera  orchs. 
and  the  Rose  Quartet. — Works:  Comic  opera 
Muzsedin  (Vienna,  1883) ;  do.  Heini  von  Steier 
(1884);  operetta  Der  Fuchs-Major  (Prague, 
1889;  succ);  ballet  Sakuniala;  and  2  oper- 
ettas (Vienna,  1866). 

Back'er-Grdn'dahl,  Agathe,  pianist;  b. 
Holmestrand,  Norway,  Dec.  1,  1847;  d. 
Orm6en,  n.  Christiania,  June  4,  1907.'  Pupil 
(1860)  of  Kjerulf  and  Lindemann;  1863,  of 
Kullak's  Acad.,  Berlin;  1871,  of  Biilow  in 
Florence;  later  of  Liszt  at  Weimar.  Married 
1875,  in  Christiania,  to  the  singing-teacher 
Grondahl.  She  was  unquestionably  the  fore- 
most woman-composer  of  Scandinavia ;  among 
her  finest  pieces  were  the  six  brilliant  £tudes 
de  concert  (op.  11)  f.  pf.,  the  Romantische 
Stiicke,  the  pf.-suite  (op.  20),  Trots  morceaux 
(op.  15),  Four  Sketches  (op.  19),  and  the 
song-cycle  Des  Kindes  FrUhltngstag. 

Back'era,  Americus.    See  Broadwood. 

Backhau*  (Bachaua),  Wilhefm,  concert- 
pianist;  b.  Leipzig,  March  26,  1884;  private 


42 


B  ACKOFEN—  B  A I LLOT 


pupil  of  A.  Reckendorf  1891-4,  continuing 
with  him  from  1894-8  in  the  Coils.;  in  1899 
one  year  under  d' Albert  at  Frankfort.  Con- 
cert-tours since  1900;  in  1905,  teacher  in  the 
R.  C.  M.,  Manchester,  and  in  the  same  year 
won  the  Rubinstein  prize  for  pf. -playing 
(5000  francs.)  Taught  in  summer  vacation 
courses  at  Sondershausen  in  1907-8;  other- 
wise engaged  solely  with  concert- work;  1912- 
14  he  toured  the.U.  S.  with  phenomenal  succ. 
His  tremendous  technic  he  employs  solely  for 
the  attainment  of  the  highest  artistic  ideals. 

Back'ofen,    Johann    G.    He! n rich,    b. 

Durlach,  Baden,  1768;  d.  Darmstadt,  1839. 
Virtuoso  on  the  harp,  clarinet,  flute,  and 
English  horn;  made  long  tours  through 
Southern  Europe  and  Germany;  1806,  cham- 
ber-musician at  Got  ha;  in  1815,  founded  a 
wind-instr.  factory  at  Darmstadt.  Wrote 
methods  for  harp  (1803),  clarinet,  and 
English  horn ;  published  pieces  for  the  above 
in  various  combinations;  many  compositions 
in  MS. 

Bacon,  Richard  Mackenzie,  teacher, 
writer,  and  critic;  b.  Norwich,  Engl.,  May  1, 
1776;  d.  Cossey,  Nov.  27,  1844.  Author  of 
Science  and  Practice  of  Vocal  Ornament;  Ele- 
ments of  Vocal  Science  (London,  1824);  Art  of 
Improving  the  Voice  and  Ear  (London,  1825); 
founder  of  the  'Quarterly  Mus.  Mag.  and  Re- 
view,' of  which  he  was  editor  and  the  chief 
contributor  from  18.18-28;  also  founded  the 
triennial  Mus.  Festivals  at  Norwich. 

Badarczew'ska  [-tchev'skah],  Thekla,  pf  .- 
composer;  b.  Warsaw,  1838;  d.  there  1862. 
Her  best  piece  is  La  priere  (Tune  vierge;  the 
others  are  practically  unknown. 

Ba'der,  Karl  Adam,  opera-tenor;  b. 
Bamberg,  Jan.  10,  1789;  d.  Berlin,  April  14, 
1870.  Succeeded  his  father  as  cathedral-org. 
at  Bamberg  (1807);  began  stage-career  1811; 
1820-45,  first  tenor  at  Berlin  Court  Opera, 
then  stage- manager  till  1849;  afterwards 
music-director  at  the  Catholic  Hcdwigs- 
kirche.  The  heroic  tenor  rdles  in  Spontini's 
operas  were  his  forte;  he  was  also  a  fine  actor. 

Badi'a,  Carlo  Agostino,  b.  Venice,  1672; 
d.  Vienna,  Sept.  23,  1738,  ascourt  composer. 
Wrote  16  operas;  15  oratorios;  12  cantatas 
for  solo  voice  and  harpsich.  (publ.  as  Tribuli 
armonici);  and  33  cantatas  a  1-3  (MS.). — 
See  Q.-Lex. 

Badi'a,  Luigi,  b.  Teramo,  Naples,  1822; 
d.  Milan,  Oct.  30,  1899;  wrote  4  operas  and 
numerous  successful  songs. 

Baer'mann,  Karl.    See  Barmann. 

Bafc'ge,  Selmar,  b.  Koburg,  June  30, 
1823;  d.  Basel,  July  17,  1896.  .St.  at  Prague 
Cons,  with  Dionys  Weber,  and  in  Vienna  with 
Sechter;  1851-55,  comp.-teacher  at  V.  Cons. 
Journalist    and   critic;    editor    (in   Leipzig, 


(1863-6)  of  'Alleem.  Musikzeitung1;  1868, 
app.  Director  of  the  Basel  Music-School; 
edited,  for  some  years,  the  'Schweizerische 
Sangerzcitung.' — Works:  A  symphony,  cham- 
ber-music, sonata  for  pf.  and  'cello,  pf. -pieces, 
and  songs;  also  a  Lehrbuch  der  Tonkunst 
(1873);  Die  geschichtliche  Entwicklung  der 
Sonate  (1880),  Die  Symphonie  in  ihrer  histo- 
rischen  Entwicklung  (1884),  etc. — Biogr.  by 
Eglinger  (Basel,  1897). 

Bahn,  Martin.    See  Trautwbin. 

Ba'i    [bah'e]    (or    Baj),    Tommaso,    b. 

Crevalcuore,  n.  Bologna,  c.  1660;  d.  Rome, 
Dec.  22,  1714.  Tenor  singer  at  the  Vatican; 
m.  di  c.  in  1713.  A  disciple  of  Palestrina,  his 
posthumous  fame  rests  on  his  5-part  Miserere, 
sung  during  Holy  Week,  alternately  with 
those  by  AUegri  and  Baini,  in  the  Papal 
Chapel.  This  work  is  publ.  (Choron,  Bur- 
ncy,  Peters)  in  various  collections  of  music 
of  the  Papal  Chapel. 

Baif,  Jean-Antoine  de,  b.  Venice,  1532; 
d.  Paris,  Sept.  19,  1589.  Gave  concerts  at 
Paris;  publ.  2  works  in  lute-tablature,  12 
sacred  songs,  and  2  books  of  4-part  secular 
chansons  (all  lost).  Of  greater  importance 
were  his  attempts  to  imitate  antique  poetic 
metres  in  French  poems  of  his  own,  many  of 
which  were  set  to  music  (by  Jacques  Maudit, 
26  Chansonettes  mesurees  a  4  [1586],  and  by 
Claude  Le  Jeune,  Le  Printemps  [1603,  39 
numbers]).  Both  of  these  collections,  edited 
by  Henri  Expert,  have  been  reprinted  in 
'Maitres  Musiciens'  as  Books  x  and  xii-xiv, 
respectively  (1899-1901). 

Bailey,  Marie  Louise,  concert-pianist,  b. 

Nashville,  Oct.  24,  1876;  st.  from  1889  in 

Leipzig  Cons,  with  C.  Reinecke,  winning  a 

'scholarship,    and    later    with    Leschetizky, 

Vienna.     Debut  Feb.  28,  1893,  at  Gewand- 

haus,   Leipzig,  after   which  she  played   by 

request  before  King  Albert  of  Saxony,  and 

received  the  title  of  'Kgl.  Sachs.  Kammcr- 

virtuosin.'     Returning  to  America,  she  first 

appeared  in  Carnegie  Hall,  N.  Y.,  with  the 

Damrosch  Orchestra;  then  made  a  long  and 

successful  tour  of  the  U.  S.  and  Canada. 

Miss  B.  has  publ.  a  Menuet  de  concert  for  pf., 

and  a  Fantaisie  on  American  national  airs. 

Baillot  [bah-yoh'],  Pierre-  Marie-  Fran- 
cois de  Sales,  one  of  the  most  celebrated  of 
French  violinists;  b.  Passy,  Oct.  1,  1771;  d. 
Paris,  Sept.  15,  1842.  His  first  teachers  were 
Polidori  of  Florence,  at  Passy,  and  (1780) 
Sainte- Marie,  at  Paris.  From  1783-91  he  st. 
under  Pollani,  at  Rome;  then  returned  to 
Paris,  where  Viotti  procured  him  the  posi- 
tion of  leader  in  the  Th.  Feydeau.  Still 
doubtful,  apparently,  as  to  earning  a  living 
as  a  musician,  he  obtained  a  minor  appoint- 
ment in  the  Ministry  of  Finance,  and  held  it 


43 


BAILLOT—  BALART 


until  1795,  when,  on  the  strength  of  his  con- 
tinually growing  reputation  as  a  concert- 
violinist,  ne  was  app.  prof,  of  vln.  at  the 
Cons.  He  made  up  for  lost  time  by  diligent 
study  under  Cherubini,  Reicha,  and  Catel. 
His  first  foreign  tour,  to  Russia,  was  under- 
taken 1805-8,  and  followed  by  others  through 
Belgium,  Holland  and  England  (1815-16), 
Switzerland  and  Italy  (1833),  etc.  In  1821 
he  was  made  leader  at  the  Grand  Opera,  and 
in  1825  solo  violinist  in  the  royal  orch. — His 
chief  work  is  the  admirable  text-book,  VArt 
du  Violon  (1834).  With  Rode  and  Kreutzer 
he  wrote  a  Mcthode  du  Violon,  adopted  by 
Paris  Cons.,  and  republished  in  countless  edi- 
tions and  many  languages;  he  also  edited  the 
Methode  de  Violoncelle  by  Levasseur,  Catel 
and  Baudiot,  and  wrote  essays:  Notice  sur 
Cretry  (1814);  Notice  sur  Viotti  (1825);  and 
others. — His  principal  compositions  are  10 
vln. -concertos;  3  string-quartets;  15  trios  for 
2  vlns.  and  bass,  6  duos  for  2  vlns. ;  30  sets  of 
airs  varits;  24  preludes  in  all  keys;  a  sym- 
phonic concertante  for  2  vlns.  with  orch.;  a 
sonata  for  pf.  and  vln.,  etc.;  mostly  difficult, 
and  not  much  played  nowadays.  He  had 
several  distinguished  pupils — Habeneck  atni, 
Mazas,  the  two  Danclas,  etc. 

Baillot,  Ren6-Paul,  son  of  preceding;  b. 
Paris,  Oct.  23,  1813;  d.  there  Mar.  28,  1889; 
prof,  of  ensemble-playing  at  Paris  Cons. 

Bai'ni,  Abbate  Giuseppe,  a  composer, 
writer,  and  critic  of  ultra-conservative  ten- 
dency; b.  Rome,  Oct.  21,  1775;  d.  there  May 
21,  1844.  Pupil  of  his  uncle,  Lorenzo  B.; 
later  of  Jannaconi,  the  maestro  of  St.  Peter's, 
who  had  him  app.  singer  in  the  Pontifical 
choir,  and  whom  he  succeeded  in  1817.  B.'s 
life-work  was  the  monograph  Memorie  slo- 
rico-critiche  delta  vita  e  delle  opere  di  Giovanni 
Pierluigi  da  Palestrina  (Rome,  1828;  German 
transl.  by  Kandler,  w.  notes  by  Kiese  wetter, 
1834).  He  likewise  wrote  a  Saggio  sopra 
Vidcntita  de*  rilmi  musicali  e  poetici  (1820). 
His  most  celebrated  comp.  is  a  10-part 
Miserere  (1821),  given  alternately,  during  his 
lifetime,  with  those  of  Allcgri  and  Bai  at  the 
Sistine  Chapel,  during  Holy  Week.  Others 
are  Psalms  and  Hymns  a  4;  Hymns  a  8; 
masses,  motets,  church-concertos,  a  Te 
Deum,  etc. — Haberl  publ.  an  essay  on  B.  in 
the  'Kchm.  J.'  (1894).— See  Q.-Lex. 

Baj,  Tommaso.   See  Bai. 

Bajet'ti,  Giovanni,  stage-composer;  b. 
Brescia,  Italy,  circa  1815;  d.  Milan,  April  28, 
1876.  For  many  years  leader  of  orch.  in  La 
Scala,  Milan,  where  he  produced  Gonzalvo 
(opera,  1841),  L'Assedio  di  Brescia  (1844), 
Caterina  o  la  figlia  del  bandito  (1847),  Faust 
(ballet,  1848),  Uberto  da  Brescia  (1866),  and 
//  genio  d*  Italia  (Piacenza,  1843);  all  with 
success. 


Baker,  Benjamin  Franklin,  b.  Wenhara, 
Mass.,  Jury  10,  1811;  sang  in  churches  in 
Salem,  Boston,  and  Portland;  in  1837,  took 
charge  of  the  music  in  Dr.  Channing's  church 
at  Boston,  and  in  1841  succeeded  Lowell 
Mason  as  teacher  of  music  in  the  public 
schools;  wa9  also  vice-pres.  of  the  Handel 
and  Haydn  Society  for  6  years,  frequently 
singing  solos  at  their  concerts.  Est.  the 
Boston  Music  School  (1851.-68).  Editor  of 
the  Boston  'Musical  Journal/  Retired  in 
1868.— Works:  3  cantatas,  The  Storm-King, 
The  Burning  Ship,  and  Camillus,  the  Roman 
Conqueror;  various  vocal  quartets,  songs,  etc. 
Author  of  a  text-book,  Thorough-bass  and 
Harmony;  compiled  several  volumes  of  glees 
and  anthems. 

Baker,  George,  b.  Exeter,  Engl.,  in  1773; 
d.  Rugeley,  Feb.  19,  1847.  Organ-pupil  of 
Hugh  Bond  and  William  Jackson  (Exeter); 
st.  the  violin  with  Ward,  and  pf.  with  Dussek 
and  Cramer  at  London.  Org.  at  Stafford 
(1795),  Derby  (1810),  Rugeley  (1824);  Mus. 
Bac.  Oxon.,  1797.— Works:  The  Caffres, 
'musical  entertainment1  (London,  1802;  un- 
succ.);  4-,  5-,  and  6-part  anthems;  glees 
for  3  and  4  voices;  songs;  organ-voluntaries; 
pf. -sonatas. 

Bala'kirev,  Mily  Alexeievitch,  b.  Nishni 
Novgorod,  Russia,  Jan.  2,  1837;  d.  Petro- 
grad,  May  28,  1910.  St.  at  Kazan  Univ.; 
self-taught,  as  a  musician.  Pianistic  debut 
at  Petrograd,  1855,  was  very  successful. 
With  Lomakin,  in  1862,  he  founded  the  'Free 
Music  School.'  the  concerts  of  which  (except- 
ing the  period  1874-81)  he  directed  until  his 
death;  1866,  app.  opera-conductor  at  Prague; 
1867-70,  conducted  concerts  of  thi  Imp. 
Music  Society  at  Petrograd  and  introduced 
compositions  of  Berlioz  and  Liszt  to  the 
Russian  public.  From  1883-95  hj  was  cond. 
of  the  Court-chapel.  A  passionate  admirer 
of  Glinka  and  Dargomyzhsky,  he  gathered 
about  him  a  number  of  younger  musicians, 
chief  among  whom  wore  Cui,  Mussorgsky, 
Rimsky-Korsakov  and  Borodin,  inspired 
them  with  his  own  enthusiasm,  and  thus 
became  the  founder  and  head  of  a  new  na- 
tional Russian  school.  His  own  works  are 
2  symphonic  poems,  Russia  and  Tamara;  2 
symphonies  (C,  1897;  D  m.,  1909);  music  to 
King  Lear;  overtures  with  Russian,  Czechish 
and  Spanish  themes;  an  Oriental  Fantasia, 
Islamei,  for  pf.;  pieces  and  arrangements  for 
pf.;  etc.  He  published  (1866)  a  fine  collec- 
tion of  Russian  folk-songs. 

Balart',  Gabriel,  comp.  of  'zarzuelas' 
(Spanish  operettas);  b.  Barcelona,  June  8, 
1824;  d.  there  July  5,  1893.  He  finished  his 
mus.  studies  in  Paris,  returned  to  Spain  in 
1852,  wasopera-cond.  in  various  Spanish  the- 
atres, and,  finally,  Dir.  of  the  Barcelona  Cons. 


44 


BALATKA— BALTZELL 


Balatlca,  Hans,  b.  Hoffnungsthal,  Mora- 
via, March  5,  1827;  d.  Chicago,  April  17, 
1899.  Choirboy  in  Oimutz  cathedral;  1846- 
1848,  pupil  of  Proch,  Sechter,  and  Gentil- 
uomo  at  Vienna,  and  conducted  the  Aca- 
demical Singing  Societies  there.  Went  to 
America,  1849;  founded  the  Milwaukee  Mu- 
sikvcrein  in  1851,  and  was  its  conductor  till 
I860,  when  he  became  cond.  of  the  Chicago 
Philh.  $oc.a  and,  in  1862,  of  the  Mus.  Union. 
In  1867,  he  gave  independent  svmphony-con- 
certs;  was  cond.  of  the  Germama  Mannerchor 
(1867),  made  concert-tours  w.  Mme.  Pappen- 
heim  (1870),  was  again  cond.  at  Milwaukee, 
and  from  1873  lived  in  Chicago,  where  he 
organized  the  Liederkranz  ana  the  Mozart 
Club,  and  for  several  years  cond.  the  Sym- 
phony Society. — Works:  The  Power  of  Song, 
double  ch.  for  men's  voices  (1856);  Festival 
Cantata  for  soprano  and  full  orch.  (1869); 
choruses  and  quartets  for  men's  or  mixed 
voices;  about  30  songs  with  accomp.  of  orch. 
or  pf . ;  over  20  fantasias  and  transcrs.  f .  orch. 

Bal'bi  [Lat.  Balbus],  Ludovico,  1585-91 
m.  di  capp.  at  S.  Antonio,  Padua;  d.  Venice, 
1604,  as  m.  di  capp.  at  the  Franciscan  mon- 
astery. Publ.  masses,  motets,  canzoni,  mad- 
rigals, sacred  songs,  etc.;  edited  (with  J. 
Gabricli  and  Vecchi)  a  coll.  of  graduals  and 
antiphones,  by  celebrated  Italian  masters, 
published  by  Gardano  (Venice,  1591). 

Bal'bi,  Melchiore  (Cav.),  theorist  and 
composer;  b.  Venice,  June  4,  1796;  d.  Padua, 
June  21,  1879.  Pupil,  at  Padua,  of  Nini, 
Valeri,  and  Calegari;  from  1818-53,  leader  at 
both  the  Paduan  theatres;  1854,  m.  di  capp. 
in  the  basilica  S.  Antonio. — Works:  The 
operas  La  Notte  perigliosa  (1820),  UAbitator 
del  bosco  (1821),  UAUoggio  militare  (1825), 
all  produced  in  Padua;  masses,  psalms,  a 
Miserere,  a  Requiem  (for  Rossini,  1868);  also 
edited  Calegari  s  Trattato  del  sistema  armo- 
nico  (Padua,  1829),  and  wrote  a  Grammalica 
ragionata  delta  tnusica  considerata  sotto  Va- 
spetlo  di  lingua  (Milan,  1825),  and  Nuova 
scuola  basata  sul  sistema  semitonato  equabile 
(1872).— See  Q.-Lex. 

Baldwin,  Samuel  Atkinson. 

See  Appendix. 

Balfe  [half],  Michael  William,  very  popu- 
lar British  composer;  b.  Dublin.  May  15, 
1808;  d.  Rowney  Abbey,  Hertfordshire,  Oct. 
20,  1870.  Taught  in  Ireland  by  O'Rourke, 
and  in  London  by  C.  F.  Horn;  in  1824  he 
was  a  violinist  in  the  Drury  Lane  orch.,  and 
also  sang  in  London  and  the  provinces.  His 
patron,  Count  Mazzara,  took  nim  to  Italy  in 
1825;  he  studied  comp.  with  Federici  at 
Rome,  and  singing  with  F.  Galli  at  Milan, 
where  his  first  dramatic  piece,  the  ballet  La 
Perouse,  was  produced  (1826).  After  brief 
instruction  by  Bordogni,  he  sang  as  first 


45 


baritone  at  the  Italian  Opera,  Paris  (1828) 
and  in  Italian  theatres  until  1835,  also  pro- 
ducing several  Italian  operas;  and  married 
Lina  Koser,  an  Hungarian  vocalist  [d.  Lon- 
don, June  8,  1888,  aged  80).     Returning  to 
England  in  1835,  his  brilliant  career  as  a 
composer  of  English  operas  began  with  The 
Siege  of  Rochelle  (Drury  Lane).    Failing  as 
manager  of  an  opera- troupe,   B.   went  to 
Paris  for  a  few  years,  but  returned  in  1843 
with  The  Bohemian  Girl,  his*  most  popular 
opera,  which  made  the  round  of  the  chief 
continental  stages,  and  was  produced,  ex- 
tended to  5  acts,  as  La  Bohemienne  at  Paris 
in  1856,  with  overwhelming  applause.     Ex- 
cepting visits  to  Vienna  (1846),  Berlin  (1848), 
and  Petrograd  and  Trieste  (1852-6) ,  he  stayed 
in  England;  and  retired  to  his  country-seat, 
Rowney  Abbey,  in  1864.    In  1857,  his  daugh- 
ter, Victoire,  made  her  debut  at  the  Lyceum 
theatre  in  Italian  opera. — Operas:  J  Rivali  di 
sestessi  (Palermo,  1829);  Un  Awertimento  ai 
gelosi  (Pavia,  1830);  Enrico  IV  al  Passo  del' 
Mama  (Milan,  1831);  The  Siege  of  Rochelle 
London,    1835);    The   Maid  of  Artois    fib., 
1836);    Catherine  Grey,    Joan   of  Arc    (ib., 
1837);  Diadeste  (ib.,  1838);  Falstaff  (H.  M. 
Th.,  1838);  Keolanthe  (Lyceum,  1840);  Le 
Puits  d' amour  (Paris,  Op.-Com.,  1843);  Les 
quatre  fits  d'Aymon   (ib.,   1844);   The  Bohe- 
mian   Girl    (London,    Drury   Lane,    1843); 
Daughter  of  St.  Mark  (ib.,  1844);  The  En- 
chantress (ib.,  1845);  V&oile  de  Seville  (Paris, 
1845);  The  Bondman  (London,  Drury  Lane, 
1846);  The  Maid  of  Honour  (ib.,  1847);  The 
Sicilian  Bride  (ib.,  1852);  The  Devil's  in  it 
(Surrey  Th.,  1852);  Pittore  e  Duca  (Trieste, 
1856;  revived  as   The  Painter  of  Antwerp, 
London,  1881);  The  Rose  of  Castile  (Lyceum, 
1857);  La  Zingara  [The  Bohemian  Girl  in 
Italian)  (H.  M.  Th.,  1858);  Satanella  (Ly- 
ceum, 1858);  Bianca  (1860);  The  Puritan's 
Daughter  (1861);   The  Armourer  of  Nantes; 
Blanche  de  Nevers  (1863);  The  Sleeping  Queen 
[operetta]  (London,  1863);  The  Knight  of  the 
Leopard,  given  in  Italian-  as  II  Talismano 
(Drury  Lane,  June  11,   1874).— Also,  Ma- 
*eppa,  a  cantata,  and  two  other  cantatas; 
ballads,  glees,  part-songs,  etc. — Bibliographi- 
cal: A  Memoir  of  M.  W.  B.t  by  Charles  Lamb 
Kenney  (London,  1875);  Balfe:  His  Life  and 
Works,  by  W.  A.  Barrett  (London,  1882). 

Ballard  [bah-lahr'],  a  family  of  French 
music-printers  using  movable  types;  founded 
by  Robert  B.,  whose  patent  of  1552,  from 
Henri  II,  made  him  'Seul  imprimeur  de  la 
musique  de  la  chambre,  chapel  le,  et  menus 
plaisirs  du  roy.'  This  patent  was  renewed  to 
various  members  of  tne  family  until  1776, 
when  it  expired. — See  Q.-Lex. 

Baltzell,  Win  ton  James,  editor,  b. 
Shiremanstown,  Pa.,  Dec.  18,  1864.     Edu- 


BANCHIERI— BANTOCK 


cated  at  Lebanon  College  (A.  B.,  1884); 
Univ.  of  Pa.  (Mus.  Bac,  1896);  N.  E.  Cons. 
(1888-9).  Pupil  in  London  (1890)  of  Sir 
Frederick  J.  Bridge  (comp.)  and  Wm. 
Shakespeare  (singing).  Private  teacher  in 
Reading,  Pa.  In  1887,  asst.  editor  of  'The 
Etude,' Philadelphia ;  reader  for  Theo.  Presser, 
music-publisher  (1899-1900);  prof,  of  history 
of  music  and  theory,  Wesleyan  Univ.  (1900- 
1907);  since  1907  ed.  of  •The  Musician,' 
Boston. — Works:  A  Complete  History  of 
Music  for  Schools  (1905) ;  Dictionary  of  Must- 
cians  (1912);  many  songs,  and  anthems. 

Banchie'ri  [-kya-],  Don  Adrlano,  born 
Bologna,  1567  (?);  d.  there  1634.  Poet, 
theorist,  church-composer;  organist  at  Imola 
and  Bologna.  Wrote  masses,  psalms,  mo- 
tets, madrigals,  church-concertt,  etc.;  and 
(among  others)  the  treatises  Car  Leila  musicale 
del  canto  figurato,  fermo  e  contrappunto 
(Venice,  1614);  Direttorio  monastico  di  canto 
'fermo  (Bologna,  1615);  Lettere  armoniche 
(Bologna,  1628);  and  Lorgano  suonarino 
(Venice,  1605).  He  named  the  7th  scale- 
degree  bat  being  an  opponent  of  the  hexa- 
chordal  system.  As  a  composer  he  is  his- 
torically important  for  his  dramatic  pieces  in 
madrigal  style,  which  are  among  the  earliest 
operas:  La  Pazzia  senile  (1598);  IlZabajone 
(1604);  La  bar  cadi  Venezia  per  Padova  (1605); 
La  Prudenza  giovanile  (1607);  Tirsi,  Filli  e 
Clori  (1614);  TraUenimenti  in  villa  (1630).— 
See  Q.-Lex. 

Bandi'ni,  Primo,  b.  Parma,  Nov.  29, 
1857;  1869-75,  pupil  of  the  R.  School  of 
Music  there;  has  written  the  operas  Eufemio 
di  Messina  (Parma,  1878),  and  Fausta  (Milan, 
1886),  both  fairly  successful,  and  the  4-act 
opera  Janko  (Turin,  1897,  succ). 

Banister,  Henry  Charles  (son  of  H.  J. 
B.),  b.  London,  June  13,  1831;  d.  Streatham, 
near  London,  Nov.  20,  1897;  pupil  of  his 
father  and  of  C.  Potter  in  the  R.  A.  M., 
at  which  he  twice  gained  the  King's  scholar- 
ship (1846-48);  1851,  asst.-prof.,  1853,  full 
prof,  of  harm,  and  comp.  at  R.  A.  M.;  was 
also  (since  1880)  prof,  of  harm,  at  Guildhall 
School,  and  (since  1881),  at  the  R.  Normal 
College  for  the  Blind.  A  fine  concert -pianist; 
composed  4  symphonies  and  5  overtures  for 
orch.,  besides  chamber-music,  cantatas,  pf.- 
music,  chants,  songs,  etc.  Printed  a  Text-book 
of  Music  (London,  1872,  and  15  editions 
since);  Some  Musical  Ethics  and  Analogies 
(1884);  Lectures  on  Musical  Analysis  (1887); 
Musical  Art  and  Study  (1888);  a  life  of 
George  Alexander  Macfarren  (1891);  Helpful 
Papers  for  Harmony  Students  (1895);  The 
Harmonising  of  Melodies  (1897);  The  Art  of 
Modulating  (1901).  Macpherson  edited  a 
collection  of  his  lectures,  Interludes  (1898). 


Ban'ister,  Henry  Joshua,  b.  London, 
1803;  d.  there  1847.  Excellent  'cellist,  son 
of  Chaa.  Wm.  B.  [1768-1831;  a  composer 
who  publ.  a  Coll,  of  Vocal  Music;  London, 
1803);  author  of  several  good  instruction- 
books  for  'cello. 

Banister,  John,  b.  %  London,  1630;  d. 
there  Oct.  3,  1679.  Violinist,  sent  for  study 
to  France  by  Charles  II.  and  later  a  member 
of  the  latter's  band,  from  which  an  out- 
spoken preference  for  ^  English  over  the 
French  musicians  belonging  to  it,  caused  his 
expulsion.  Director  of  a  music-school,  and 
concert -giver.  He  wrote  music  for  Dave- 
nant's  Circe  and  Shakespeare's  Tempest  (both 
1676);  New  Ayres  and  Dialogues  for  voices 
and  viols  of  2,  3  and  4  parts  (London,  1678); 
songs. 

Ban'ister,  John  (Jr.),  d.  London,  1735; 
violinist,  son  of  preceding;  member  of  the 
private  band  under  Charles  II,  James  II, 
and  Anne;  leader  at  Italian  Opera,  London. 

Banneller  [ -l'va').  Charles,  b.  Paris,  Mar. 
15,  1840;  d.  there  Oct.  5,  1899.  Pupil  of  tht 
Conservatoire;  contributor  to  and  later  (till 
1880)  editor  of  the  'Revue  et  Gazette  Mu- 
sicale.' Translator,  into  French,  of  Hans- 
lick's  Vom  Musikalisch-Schonen  (1877),  and 
the  text  of  Bach's  MaUhdus-Passion;  arranged 
Berlioz's  Symphonie  fantastique  as  a  pf .-duet. 

Ban'ti-Gior'&i,  Brigida,  b.  Crema,  Lom- 
bardy,  in  1759;  d.  Bologna,  Feb.  18,  1806;  a 
celebrated  dramatic  soprano,  'discovered'  as 
a  chanteuse  in  a  Paris  cafe  by  de  Vismes, 
Director  of  the  Academie;  she  was  engaged 
at  the  Grand  Opera,  and  her  career  in  Paris, 
London  (1779-1802)  and  various  Italian, 
German  and  Austrian  cities,  was  a  series  of 
triumphs  due  solely  to  her  beautiful  voice 
(whicn  was  of  extraordinary  range  and  per- 
fectly even  throughout)  and  wonderful  nat- 
ural talents;  for  she  was  the  despair  of  suc- 
cessive teachers,  and  never  learned  even  to 
read  music  well  at  sight,  but  trusted  wholly 
to  memory  and  inspiration. — Her  husband 
was  the  dancer  Zaccaria  Banti. 

Ban  took,  Granville,  b.  London,  Aug.  7, 
1868;. pupil  of  F.  Corder  at  the  R.  A.  M., 
1889-92;  first  holder  of  the  Macfarren 
Scholarship.  At  the  Academy  concerts  were 
given  an  overture,  The  Fire-Worshippers; 
an  Egyptian  Suite  de  ballet  from  Rameses  II; 
WuJstan;  and  the  1-act  opera  Ctxdmar  (in 
concert -form;  prod,  same  year  at  the  Crystal 
Palace).  From  1893-6  he  edited  The  New 
Quarterly  Mus.  Review,'  also  cond.  mus. 
comedies,  etc.,  and  made  the  tour  of  the 
world  with  one  of  the  Edwardes  companies 
in  1894-5,  also  a  provincial  tour  as  cond.  of 
Shamus  O'Brien  in  1895.  From  1897-1901, 
mus.  director  of  the  Tower,  New  Brighton; 


46 


BAPTIE— BARBIER 


in  1898  he  founded  the  N.  B.  Choral  Soc. 
and  was  app.  cond.  of  the  Runcorn  Philh. 
Soc.;  in  1900,  Princ.  of  the  Birm.  and  Midland 
School  of  Music;  in  1902,  succ.  Wood  as 
cond.  of  the  Wolverhampton  Fest.  Choral 
Soc.,  and  Birm.  Amateur  Orch.  Soc.;  in  1908 
app.  prof,  of  music  at  Univ.  of  Birmingham. 
At  all  times  he  has  done  much  to  encourage 
rising  British  musical  talent,  and  has  cond.  2 
concerts  of  British  music  at  Antwerp  (1900- 
1901).  B.  himself  occupies  a  foremost  position 
among  modern  British  composers.  Absolute 
music  seems  to  have  little  attraction  for  him, 
for  all  his  works  are  inspired  by  some  poetic 
idea  and  belong  to  the  category  of  program 
music.  His  orchestration  is  always  brilliant 
and  effective,  but  his  form  is  vague  and  his 
thematic  invention  scarcely  compelling. — 
Works:  2  1-act  operas,  Cadmar  (London, 
1892)  and  The  Pearl  of  Iran  (ib.,  1896);  the 
tone- poems  Thalaba  the  Destroyer  (1900), 
Dante,  Hudibras,  The  Witch  of  Atlas  (all 
1902),  Lalla  Rookh,  The  Great  Cod  Pan 
(1903),  The  Pierrot  of  the  Minute  (1908), 
Dante  and  Beatrice  (1911),  Fifine  at  the  Fair 
(1912),  Hebridean  Symphony  (1916);  the 
choral  symphonies  Atalanta  in  Calydon 
(1912),  The  Vanity  of  Vanities  (1914);  a 
festival  symphony,  Christ  us,  in  10  parts 
(only  the  first  part,  The  Wilderness,  produced 
1903);  The  Fire-Worshippers,  dram,  cantata 
(1892);  Wulstan,  scena  for  bar.  and  orch. 
(1892);  The  Time-Spirit,  rhapsody  for  ch. 
and  orch.  (1904);  Thorvenda's  Dream,  recita- 
tion w.  orch.  (1903);  Omar  Khayyam  (2 
parts,  1906-7);  Sea-Wanderers  (1907);  the 
overtures  Saul,  Cain,  Belshazzar,  Eugene 
Aram  (to  an  unfin.  opera,  1895);  Overture  to 
a  Greek  Tragedy  (1911);  2  suites  for  orch., 
Russian  Scenes  (1899)  and  English  Scenes 
(1900);  2  oriental  scenes,  Processional  (1894) 
and  Jaga  Naut  (1897);  orch.  variations, 
Helena  (1900);  2  ballets,  Egypt  (1892)  and 
The  Enchanted  Garden  (1916);  Elegiac  Poem 
for  vcl.  and  orch.;  string-quartet  in  C  m.; 
Serenade  in  F  iorji  horns;  Mass  in  Bf>  for 
male  ch.  a  capp. ;  incidental  music  to  Rame- 
ses  II  (5-act  drama  by  B.);  6  song  albums 
w.  orch.,  Ghazels  of  Hafiz,  Songs  of  the  East, 
Ferishta's  Fancies,  Sappho,  Jester  Songs, 
Songs  of  the  Seraglio;  pf  .-pieces  and  choruses. 
— Cf.  H.  O.  Anderton,  G.  B.  (London,  1915). 

Baptie,  David,  b.  Edinburgh,  Nov.  30, 
1822;  d.  Glasgow,  March  26,  1906.  He  com- 
posed^many  anthems,  glees,  part-songs,  etc.; 
compiled  a  number  of  song-books  (among 
them  'Moody  &  Sankey's  Hymn-Book,'  1881), 
and  publ.  A  Hand-Book  of  Mus.  Biography 
(1883;  2d  ed.,  1887,  pp.  2d0),  and  Musicians 
of  All  Times  (London.  1889),  containing 
12,000  'skeleton'  biographical  sketches.  From 
1846-98  he  compiled  a  Descriptive  Catalogue 


47 


of  upwards  of  23,000  part-songs,  glees,  madri- 
gals, trios,  quartets,  etc.;  the  manuscript  was 
acquired  by  the  British  Museum,  and  is 
there  available  for  reference. 

Baptiste  [bah-test']  (properly  Baptiste 
Anet),  violinist,  a  pupH  of  Corelli;  came  c. 
1700  to  Paris,  where  he  made  a  profound  and 
lasting  impression  by  introducing  his  master's 
works  ana  style  of  playing;  d.  at  LuneVille, 
1755,  as  m.  de  ch.  to  Stanislas  Leczinski,  the 
exiled  king  of  Poland.  He  publ.  3  sets  of 
vln. -sonatas;  2  suites  d$  pieces  f.  2  musettes 
(op.  2);  and  6  duos  for  2  musettes  (op.  3). 

Baralla,  Raffaello,  b.  Camigliano,  near 
Lucca,  June  25,  1862.  Pupil  of  the  seminary 
at  Lucca;  devotes  himself  to  the  investigation 
of  the  Gregorian  Chant;  1893,  instr.  Gre- 
gorian Chant  at  the  'Istituto  musicale'  at 
Lucca;  since  1910,  teacher  of  Greg.  Palaeo- 
graphy at  the  school  for  church  music  in 
Rome.  Wrote  Due  parole  sui  melismi 
gregoriani  (Lucca,  1901);  Di  un  nuovo 
itelum  imbelle  sine  ictu*  conlro  il  canto  gre- 
goriano  (Pisa,  1902);  Ab  initio  non  fuit  sic 
(Lucca,  1902);  La  tuppa  net  paniere  (Lucca, 
1903);  since  1905,  several  essays  in  'Rassegna 
Gregoriana.' 

Barbacola  (or  Barbarieu,    Barberau). 

See  Barbireau. 

Barbedette,    Hlppolyte    La    Rochelle, 

b.  Poitiers,  1827;  d.  Paris,  Feb.  1,  1901. 
Author  of  works  on  Beethoven,  Chopin, 
Weber,  Schubert,  Mendelssohn,  and  Stephen 
Heller  (this  last  is  publ.  in  English  also). 
Contributor  of  biogr.  articles  to  the  Paris 
'MGnestrel*;  publ.  pf -pieces  and  ensemble 
works. 

Barbella,  Emmanuele,  b.  Naples,  1704; 
d.  there  1773.  Pupil  of  L.  Leo  and  Padre 
Martini.  Wrote  duets  for  2  vis.;  do.  for  vl. 
and  vcl.;  trio  sonatas.  An  opera,  in  collab. 
with  Logroscino,  Elmira  generosa,  was  pro- 
duced in  Naples  (1753). 

Barbi,  Alice,  a  celebrated  concert-soprano; 
b.  Modena,  1862.  ^  Studied  vl.  at  first  with 
her  father;  then  singing  with  Zamponi,  Busi 
and  Vannucini;  debut  at  Milan,  1882;  her 
tours  of  Germany  and  Austria  established 
her  reputation  as  one  of  the  foremost  Heeler 
singers.  Since  her  marriage  to  Baron  Wolff- 
Stomersen,  in  1897,  she  nas  appeared  but 
rarely. 

Barbier  [bar-b'ya'],  Fr&teric-fetienne,  b. 
Metz,  Nov.  15,  1829;  d.  Paris,  Feb.  12,  1889. 
Teacher,  and  leader  at  the  Th.  International, 
Paris.  Composer  of  operas;  debut  at  Bourges 
with  Le  mariage  de  Colombine  (1852),  after 
which  he  brought  out  over  30  operas,  mostly 
in  one  act,  and  light. 

Barbier,  Jules- (Paul),  a  man  of  letters 
and  dramatist;  b.  Paris,  March  8,  1825;  d. 


BARBIERI— BARDI 


there  Jan.  16,  1901.  Joint  author  (with 
Carre)  of  numerous  celebrated  opera-libretti: 
Galathie,  music  by  V.  Masse;  Les  Noces  de 
JeannetU  (V.  Masse);  Les  Papillotes  de  M. 
Benoist  (Reber);  Les  Sabots  de  la  Marquise 
(Boulangcr);  Le  Roman  de  la  Rose  (Pascal); 
Miss  Fauvelte  (V.  Mass£);  VAnneau  d' argent 
(Deffes);  Deucalion  et  Pyrrha  (Montfort); 
Le  Pardon  de  Ploermel  (Meyerbeer);  Faust 
(Gounod);  Philemon  et  Baucis  (Gounod); 
Romio  et  Juliette  (Gounod);  Hamlet  (Ambr. 
Thomas);  Polyeucte  (Gounod);  Francoise  de 
Rimini  (Ambr.  Thomas). — Hi9  son,  Pierre 
B.v  b.  Paris,  1854,  is  likewise  a  dramatist 
and  librettist  [Le  Barbier  de  Suzon  (Bem- 
berg) ;  Jehan  de  SaintrS  (Erlanger)]. 

Barbie'ri,    Carlo    Emmanuele    di,    b. 

Genoa,  Oct.  22,  1822;  d.  Pest,  Sept.  28, 
1867.  Pupil  of  Mercadante  and  Crescent ini; 
orch. -conductor  in  numerous  Italian  theatres, 
later  in  Vienna  (1845),  Berlin  (1847),  Ham- 
burg (1851),  Rio  de  Janeiro  (1853),  1856-62 
in  Vienna  again,  then  settling  in  Pest  as 
director  of  the  National  Theatre. — Works: 
the  operas  Cristoforo  Colombo  (Berlin,  1848), 
Arabella  (Pest,  1862),  Nisida,  la  Perla  di 
Procida  (1851),  Carlo  und  Carlin  (1859), 
PerdUa,  tin  Wintermdrchen  (Leipzig,  1865, 
and  in  many  other  German  theatres);  also 
church-music,  pf. -pieces,  and  German  and 
Italian  songs. 

Barbie'ri,  Francisco  Asenjo,  b.  Madrid, 
Aug.  3,  1823;  d.  there  Feb.  17,  1894.  Fa- 
mous zarsuelero  (composer  of  Spanish  oper- 
ettas), a  pupil  of  the  Madrid  Cons.;  1847, 
secretary  of  the  'Zarzuela  Society';  his  first 
zarzuela,  Gloria  y  peluca  (1850),  and  espe- 
cially the  second,  Jugar  con  fuego  (1851;  3 
acts),  gave  him  a  popularity  which  increased 
for  the  next  30  years,  during  which  he  pro- 
duced 77  operettas.  In  1868  he  was  app. 
prof,  of  harm,  and  history  at  the  Cons.,  and 
in  1873  was  elected  a  member  of  the  Acad- 
emy of  Arts.  Also  composed  many  orchestral 
works,  motets,  hymns,  songs,  etc.;  published 
the  mus.  essays  tfltimos  A  mores  de  Lope  de 
Vega  Carpio  (1876);  Sobre  el  Canto  de  Ultreja 
(1883);  and  La  Musica  religiosa  (1889); 
edited  the  very  valuable  coll.  Cancionero 
musical  de  los  sighs  XV  y  XVI  (1890;  4to, 
pp.  636),  and  a  MS.  by  Eximeneo  on  Don 
Lazaro  Viscardi  (1872). 

Barbireau  (or  Barbiriau,  Barbarieu, 
Barbyrianus,  Barberau,  Barbingaut,  Bar- 
bacola),  from  1448  choirmaster  of  Notre- 
Dame,  Antwerp,  until  his  death  on  Aug.  8, 
1491.  Corresponded  with  Rud.  Agricola,  is 
quoted  by  Tinctoris,  and  was  considered  a 
high  authority. — Works:  A  5-part  Mass, 
Virgo  parens  Christi;  a  4-part^Mass,  Faulx 
Perverse;  a  4-part  Kyrie,  etc.  (in  MS.,  Imp. 
Library,  Vienna), 


Barblan  [-blahn'],  Otto,  b.  Scanfs  (Haute 
Engadine),  Switzerland,  March  22,  1860. 
Pupil  at  Stuttgart  Cons.  (1878-84)  of  Alwens 
(pf.),  Attinger  (org.)  and^  Faiszt  (org.  and 
comp.);  debut  as  organ  virtuoso  in  1885  at 
Augsburg,  performing  Handel's  concerto  for 
organ  in  D  m.  on  the  occasion  of  the  second 
centenary  of  Handel's  birth.  1885-7  teacher 
at  the  'fecole  Cantonale'  at  Chur  and  cond. 
of  a  choral  soc.;  since  1887  org.  of  the  cathe- 
dral at  Geneva,  prof,  of  org.  and  comp.  at 
the  Cons.,  and  cond.  of  the  'Society  de  Chant 
SacreV— Works:  Op.  2,  3,  4:  Pieces  pour 
piano;  op.  1,  5:  Pieces  pour  argue;  op.  6: 
Passacaglia  for  org.;  op.  7,  Ode  Patriotique, 
cantata  for  the  nat.  expos,  at  Geneva  (1896); 
Festspiel,  for  the  Calvin  celebration  (1899); 
op.  10,  Chaconne  sur  Bach,  for  organ;  op. 
9,  11,  14,  male  chs.;  op.  12,  Psalm  CXVII 
for  s.,  ch.  and  orch.;  op.  15,  Psalm  XXIII; 
op.  17,  chs.  for  mixed  voices;  op.  20,  Post 
Tenebras  Lux,  cantata  (1909);  op.  21,  22, 
pieces  for  organ. 

Barbot  [-boh'],  Joseph- Theodore- DeaW, 
tenor  singer;  b.  Toulouse,  April  12,  1824;  d. 
Paris,  Jan.  1,  1897.  Pupil  of  Paris  Cons., 
(Elwart,  Garcia);  engaged  1848  at  the  Grand 
Opera,  but  soon  left  it  for  Italy,  where  he 
sang  with  great  success  for  many  years. 
Created  role  of  'Faust'  at  the  Th.-Lyrio^ue, 
March  19,  1859.  In  1875,  prof,  of  singing 
in  the  Cons.,  succeeding  Mme.  Viardot 

Barbour,  Florence  Newell,  composer 
and  concert-pianist;  b.  Providence,  R.  I., 
Aug.  4,  1867.  American  taught.  Appeared 
with  Women's  Philharmonic,  N.  Y.  y.,  and 
frequently  with  chamber-music  organizations. 
Works:  Pf. -suites,  Holland,  Venice,  Forest 
Sketches,  A  Day  in  A  ready;  pf. -duets;  choruses 
for  women's  voices;  anthems;  children's  songs; 
organ-  and  chamber-music. 

Barcewicz  [bar'tsa-vitch],  Stanislaus,  vio- 
lin-virtuoso and  composer  for  violin;  b.  War- 
saw, April  16,  1858;  pupil  of  Tchaikovsky, 
Hfimaly  and  Laub  in  Moscow  Cons.;  app. 
1885  prof,  of  violin-playing  at  Warsaw  Cons.; 
1893,  second  opera-cond.  at  Warsaw;  in  1911 
became  dir.  of  the  Imp.  Mus.  Inst,  there. 

Bar'di,  Giovanni,  conte  del  Vernio,  a 

wealthy  and  cultivated  Florentine  nobleman 
at  the  end  of  the  16th  century.  At  his  house 
the  leading  men  of  letters  and  musicians  as- 
sembled, and  to  his  influence  was  due,  in 
great  measure,  the  quasi  revival  of  the  an- 
cient lyric  drama  (see  Peri,  Jacoooj,  bearing 
the  germs  of  modern  opera.  His  Discorso 
sopra  la  musica  antica  ed  U  cantar  bene  was 
publ.  1773  in  the  complete  ed.  of  Doni's 
mus.  essays;  2  madrigals  a  5,  still  extant, 
show  that  he  was  himself  a  musician  of 
merit. — Cf.  G.  Gasperini,  Intorno  alle  origini 
del  melodramma  (Rome,  1902). 


48 


BARGE— BARNBY 


Barge   [-gel  (Johann   Heinrich)   Wil- 

helm,  b.  Wulfsahl,  Hanover,  Nov.  23,  1836. 
A  self-taught  flute-player;  1853-60  in  a 
Hanoverian  regimental  band,  then  1st  flute 
of  Detmold  court  orch.,  and  from  1867-95 
1st  flute  of  the  Leipzig  Gewandhaus  Orch., 
retiring  on  pension  (successor,  2nd  flute 
Schwedler,  who  was  succeeded  as  2nd  flute 
by  Fischer,  Barge's  pupil). — Works:  Method 
for  Flute,  4  sets  of  orchestral  flute-studies 
based  on  passages  in  orchestral  works,  ar- 
rangements for  flute  of  classic  and  modern 
compositions  (Sammlung  beliebter  Stiicke  fur 
F.  u.  Pf.) ;  etc. 

Bargheer  [bar-har'],  Adolf,  brother  of 
Karl  L.;  Spohr's  last  pupil  (1857-8),  and 
finished  by  Joachim;  b.  Biickeburg,  Oct.  21, 
1840;  d.  Basel,  Mar.  14,  1901.  Court  musi- 
cian at  Detmold;  from  1866,  leader  and 
first  violin-prof,  at  the  Basel  School  of  Music. 

Bargheer,  Karl  (Louis),  violinist;  b. 
Biickeburg,  Dec.  31,  1831;  d.  Hamburg, 
May  19,  1902.  Pupil  of  Spohr  (1848-50), 
when  he  became  leader  in  the  Detmold 
court  orch.;  st.  later  with  David  and  Joa- 
chim. 1863,  court  Kapellm.  at  Detmold, 
making  numerous  brilliant  concert-tours; 
1876-89,  leader  of  the  Hamburg  Philh.  Soc., 
and  teacher  in  the  Cons. ;  then  leader  in  the 
Bulow  orch. 

Bargiel  [bar'ge-el],  Woldemar,  b.  Berlin, 
Oct.  3,  1828;  d.  there  Feb.  23,  1897.  Pupil 
(1846)  of  Hauptmann,  Moscheles,  Gade  and 
Rietz  at  Leipzig  Cons.;  for  some  years  a 
private  teacher  at  Berlin,  then  prof,  in 
Cologne  Cons.;  1865,  Director  of  the  Music 
School  of  the  'Maatschappij  tot  bevordering" 
van  toonkunst'  at  Rotterdam,  and  conductor 
of  their  concerts;  from  1874,  prof,  at  the  R. 
Hochschule  at  Berlin;  1875,  member  of  the 
senate  of  the  Acad,  of  Arts;  1882,  President 
of  the  'Mcistcrschule  f.  musikalische  Kom- 
position.'  He  occupied  a  high  place  among 
modern  German  instrumental  composers, 
with  a  leaning  toward  Schumann,  who  was 
his  stepbrother. — Works:  3  overtures  (Zu  ei- 
netn  Trauer spiel  [Romeo  and  Juliet],  op.  18; 
Prometheus,  op.  16;  Medea,  op.  22);  symphony 
in  C,  op.  30;  3  Danses  brillantes  for  orch.,  op. 
24;  Intermezzo  for  orch.,  op.  46;  Psalm  96, 
for  double  ch.  a  cappella,  op.  33;  2  Psalms, 
for  ch.  and  orch.,  op.  25,  26;  octet  for  4  vlns., 
2  vlas.,  2  'cclli,  op.  15a;  4  string-quartets  (op. 
47  is  No.  4);  3  pf. -trios,  op.  6,  20,  37;  Suite 
for  pf.  and  vln.,  op.  37;  Adagio  for  'cello  and 
pf.,  op.  38;  Sonata  for  pf.  and  vln.,  op.  10; 
pf. -suites  for  2  and  4  hands;  many  pf. -pieces, 
part-songs. 

Barker,  Chas.  Spackmann,  noted  Engl, 
organ-builder;  b.  Bath,  Oct.  10,  1806;  d. 
Maidstone,  Nov.  26,  1879.  Est.  himself  at 
Bath,  and  invented  the  pneumatic  lever,  an 


invention  offered  unsuccessfully  to  several 
English  builders,  but  adopted  in  1837  by 
Cavaille-Col  of  Paris.  Here  B.  took  charge 
of  Daublaine  &  Callinet's  factory  until  1860, 
when  he  founded  the  firm  of  Barker  &  Ver- 
schneider,  which  built  several  celebrated 
organs.  He  returned  to  London  in  1870. 
B.  also  invented  the  electric  action. 

Bar/mann,  Heinrich  Joseph,  famed 
clarinettist;  b.  Potsdam,  Feb.  17,  1784;  d. 
Munich,  June  11,  1847.  He  made  brilliant 
professional  tours,  and  settled  in  Munich 
as  court  musician — 1st  clar.  in  court  orch. 
He  was  an  intimate  friend  of  Weber  and 
Mendelssohn,  who  both  wrote  various  clari- 
net-pieces for  him. — He  composed  about  90 
works,  38  of  which  are  publ.  (concertos,  fan- 
tasias, quintets,  nuartcts,  variations,  sonatas, 
duets,  etc.),  and  are  still  special  favorites 
with  clarinet-players.  His  brother  Karl 
(1782-1842)  was  a  famous  bassoon-player. 

Bar'mann,  Karl  (Sen.),  son  of  Heinr.  Jos. 
B.;  b.  Munich,  Oct.  24,  1811;  d.  there  May 
24,  1885;  pupil  of  his  father,  whom  he  ac- 
companied on  his  tours,  and  whose  fame  he 
shared;  he  succeeded  him  in  the  Munich 
court  orch.  Wrote  an  admirable  Method  for 
Clarinet,  with  a  supplement,  Materialien  zur 
weiteren  lechnischen  Ausbildung  (Andre,  Of- 
fenbach).    His  compositions  are  well  liked. 

Bar'mann  (Baermann),  Karl  (Jr.),  son 
of  the  preceding;  b.  Munich,  July  9,  1839; 
d.  Boston,  Jan.  17,  1913.  Pf.-pupil  of  Wan- 
ner and  Wohlmuth,  later  of  Liszt;  studied 
comp.  with  Fr.  Lachner.  He  was  appointed 
teacher  in  the  Munich  Cons.,  but  went  in 
1881  to  Boston,  Mass.,  where  he  enjoyed  a 
high  reputation  as  pianist  and  pedagogue. 
Wrote  pf.-pes.  (publ.  by  Andre,  at  Offenbach). 

Barnard,  Mrs.  Charles  (ne'e  Alington), 
an  Engl,  song-writer  (pen-name  'Claribel'); 
b.  Dec.  23,  1830;  d.  Dover,  Jan.  30,  1869. 
Her  numerous  songs  are  in  the  popular  vein, 
and  are  not  unpleasing.  She  also  publ.  vocal 
quartets,  trios,  and  duets,  and  pf. -pieces. 

Barnby,  Sir  Joseph,  conductor  of  marked 
ability,  fine  org.  and  comp.;  b.  York,  Engl., 
Aug.  12,  1838;  d.  London,  Jan.  28,  1896.  Of 
musical  family;  entered  York  minster  choir 
at  7,  at  10  taught  other  boys,  at  12  was  app. 
organist,  at  15  music-master  at  a  school. 
In  1854  he  entered  the  R.  A.  M.,  London; 
studied  under  Ch.  Lucas  and  Cipriani  Potter; 
held  in  succession  post  of  organist  at  St. 
Michael's,  St.  James  the  Less,  to  the  Sacred 
Harmonic  Soc.,  and  (1863-71)  of  organist  and 
choirmaster  at  St.  Andrew's.  Organized 
(1864)  Barnby 's  Choir  (choral  society),  with 
five  annual  series  of  oratorio-concerts.  Org. 
of  St.  Anne's,  1871;  then  succeeded  Gounod 
as  conductor  of  R.  Albert  Hall  Choral  Soc., 


49 


BARNETT— BARRETT 


raising  its  standard  of  performance  to  a  very 
high  level.  Conductor  of  the  Cardiff  Festival, 
1892  and  1895;  also  of  S.  Wales  Festival.  In 
1874  he  inaugurated  a  series  of  daily  con- 
certs in  Albert  Hall,  which  were  not  a  suc- 
cess. Cond.  the  London  Mus.  Soc.,  187&- 
86.  In  1875  he  was  app.  precentor  and  dir. 
of  music  at  Eton,  a  highly  important  and  in- 
fluential position.  Elected,  .March  31,  1892, 
Principal  of  Guildhall  School  of  Music. 
Knighted  Aug.  5,  1892.— Works:  Rebekah, 
a  sacred  idyl  [oratorio)  (1870);  Psalm  97 
(1883);  Service  (morn.,  noon,  eve.)  in  E; 
Magnificat  and  Nunc  dimittis  in  Kb,  for  ch., 
org.  and  orch.  (1881);  Services,  Pieces,  Offer- 
tory Sentence;  Motet  King  all-glorioust  for 
soli,  6-part  ch.,  org.  and  orch.;  45  Anthems; 
246  Hymn-tunes  (complete  coll.,  1897);  5 
Trios  for  female  voices;  32  4-part  songs;  13 
carols;  19  songs;  organ-pieces;  pf. -pieces. 

Bar'nett,  John,  b.  Bedford,  England, 
July  1,  1802;  d.  Cheltenham,  April  17,  1890. 
Pupil  of  C.  E.  Horn,  Price,  Perez,  and  Ferd. 
Ries.  Brought  out  his  first  operetta,  Before 
Breakfast,  at  the  Lyceum,  in  1825,  followed 
by  many  small  pieces,  and  (1834)  by  his 
chief  work,  the  highly  successful  opera  The 
Mountain  Sylph  ('the  first  English  opera  con- 
structed in  the  acknowledged  form  of  its  age 
since  Arne's  time-honoured  Artaxerxes,'  as 
Prof.  Macfarren  wrote).  After  studying  in 
Paris  and  Frankfort,  he  brought  out  Fair 
Rosamond  (London,  1837),  and  Farinelli 
(London,  1839);  he  settled  in  Cheltenham  in 
1841  as  a  singing-teacher;  publ.  a  Schopl  for 
the  Voice  in  1844;  3  of  his  operas  have  never 
been  jxTformed.  Besides  2  unfinished  ora- 
torios and  a  symphony,  he  composed  2 
string-nuartets,  and  many  part-songs  and 
duets;  he  publ.  nearly  4,000  detached  songs. 

Bar'nett,  John  Francis,  nephew  of  the 
preceding;  b.  London,  Oct.  16,  1837.  Pf.- 
pupil  of  Dr.  Wyldc  (1849);  won  Queen's 
Scholarship  at  R.  A.  M.  in  1850,  and  again 
in  1852;  made  his  pianistic  debut  at  the  New 
Philh.  Concerts  in  1853.  St.  1856-9  at  Leip- 
zig Cons.  (Moscheles,  Plaidy,  Hauptmann), 
and  played  in  the  Gewandhaus  in  1860. 
Lived  at  home  as  teacher,  concert -giver,  and 
conductor;  18X3,  app.  Prof,  at  R.  Coll.  of 
Music.  -Principal  works:  An  oratorio,  The 
Raising  of  Lazarus  (Hereford  Fest.,  1876); 
several  cantatas  -The  Ancient  Mariner,  and 
Paradise  and  the  Peri  (Binningham  Fest., 
1K67  and  '70);  The  Good  Shepherd  (Brighton, 
1X76;;  The  Building  of  the  Ship  (Leeds,  1880); 
The  Harvest  Festival  (Norwich,  1881);  The 
Triumph  of  Labour  (Crystal  Palace,  1888); 
The  Wishing-bell  (Norwich,  1893);  etc. — an 
orchestral  piece,  The  Uiy  of  the  ImsI  Min- 
strel (Liverpool,  1874);  a  symphony  in  A  m. 
(1864);  Ouverture  symphonique  (1868);  over- 


ture to  Winter's  Tale  (1873);  6  orch.  Sketches; 
pf. -concerto  in  D  m.;  string-quintet, -quar- 
tet,-trio;  pf. -pieces,  part-songs,  songs,  etc. — 
Wrote  Musical  Reminiscences  and  Impres- 
sions (London,  1906). 

Baron'  f-rohn),  Ernst  Gottlieb,  b.  Breslau, 
Feb.  27,  1696;  d.  Berlin,  April  12,  1760 
[FfcTis].  Famous  lutenist;  court-player  at 
Gotha,  in  1727,  and  theorbist  to  the  Prussian 
Crown  Prince  (later  Friedrich  II)  in  1734. 
Wrote  Historisch-theoretisehe  u.  praktische 
Untersuchung  des  Instruments  der  Laute,  etc. 
(1727);  an  Appendix  (on  the  lute)  to  Mar- 
purg's  Historisch-kritische  Beitrdge,  vol.  ii;  an 
Abhandlung  von  dem  Notensystem  der  Laute 
und  der  Theorbe,  and  some  minor  pamphlets. 
His  compositions  (concertos,  trios,  duets, 
sonatas,  etc.),  are  unpublished. — See  Q.-bex. 

Barrere  [bah-rar'],  Georges,  flute-virtuoso, 
b.  Bordeaux,  France,  Oct.  31,  1876.  Studied 
Paris  Cons.  National  de  Mus.  (1889-95); 
first  prize  (1895);  teachers,  P.  Taffanel  and 
H.  Altes  (fl.),  and  R.  Pugno  (harm.);  also 
E.  Schwarz  and  L.  Grand j any.  Solo  flutist  at 
Colonne  Concerts  and  at  Grand  Opera  (1897- 
1905).  Founder  in  Paris  of  'La  Societe 
Moderne  d' Instruments  a  vent,'  1895.  Solo 
flutist  with  the  N.  Y.  Symphony  Orch.  and 
teacher  at  the  Inst,  of  Mus.  Art  since  1905. 
Founder  in  N.  Y.  C.  of  the  'Barrere  En- 
semble' (1910);  of  the  Trio  d*?  Lutece  (1913) ; 
and  the  'Little  Symphony'  (1914).  Officer 
of  the  French  Academy.  Has  written  a 
Nocturne  for  flute  and  pf. 

Barret  [bah-ra'],  Apollon (-Marie-Rose), 

French  oboist;  b.  Paris,  1808;  d.  London, 
'March  8,  1879;  pupil  of  Vogt  in  Paris  Cons. 
His  Complete  Method  for  the  Oboe,  with  sup- 
plementary studies  and  sonatas,  is  a  stand- 
ard work. 

Barrett,  John,  b.  1674;  d.  London,  circa 
1735;  a  pupil  of  Dr.  Blow;  1710,  organist  at 
St.  Mary-at-Hill,  and  teacher  at  Christ's 
Hospital,  London.  Wrote  scenic  music, 
entr'actes,  overtures,  popular  songs,  etc. 

Barrett,  Reginald,  b.  London,  Jan.  12, 
1861.  Pupil  of  Guildhall  Sch.  of  Music  and 
Darmstadt  Cons.;  came  to  IT.  S.  in  1888; 
org.  at  Kansas  Citv,  1889-98;  since  then  in 
N.  Y.;  now  (1916)  "org.  at  St.  James'  Ch.— 
Wrote  Communion  Service  in  E>;  Evening 
Service  in  I);  Romanza  and  Scherzo  for  vl. 
and  pf.;  over  100  preludes  and  interludes  for 
org.,  and  other  org. -works  {Offertory,  Marche 
fantastique,  Berceuse,  etc.);  Birthstone  Suite 
for  pf.,  and  other  pieces;  sacred  songs; 
jxirt-songs  for  female  voices;  anthems;   etc. 

Barrett,  William  Alexander,  English 
writer  and  lecturer  on  music;  b.  Hackney, 
Middlesex,  Oct.  15,  1834;  d.  London,  Oct. 
17,  1891.    Mus.  Bac.,Oxon.,  1870.    Mus.  ed. 


50 


BARRINGTON— BARTHE 


of  the  'Morning  Post*  (1869  until  his  death); 
of  the  'Globe'  (1874-5);  editor  of  'Monthly 
Mus.  Record'  (1877  and  1885),  and  of  the 
'Orchestra  and  the  Choir'  (1881);  also  of  the 
'MusicaJ  Times.'  Co-editor,  with  Sir  John 
Stainer,  of  a  Diet,  of  Mus.  Terms  (1875;  3d 
ed.,  1888).  Wrote  monographs  on  English 
Glee  and  Madrigal  Writers  (1877),  Balfe:  His 
Life  and  Work  (1882);  etc.— Composed  an 
oratorio,  Christ  before  Pilate  (MS.),  madri- 
gals, and  anthems. 

Barring  ton,  Daines,  English  lawyer;  b. 
London,  1727;  d.  there  Mar.  14,  1800.  Wrote 
numerous  minor  essays  on  music  and  musi- 
cians— Crotch,  Mornington,  the  Wcsleys 
(father  and  son),  Mozart;— Experiments  and 
Observations  on  the  Singing  of  Birds  (London, 
1773);  and  a  description  of  the  ancient 
Welsh  Crwth  and  Pib-corn. 

Barry,  Charles  Ainslie,  org.,  comp.,  and 
a  writer  of  radical  tendency;  b.  London, 
June  10,  1830;  d.  there  Mar.  21,  1915.  Pupil 
of  YValmisley;  of  the  Cologne  Cons.;  and 
(1856-7)  of  Leipzig  Cons.  (Moscheles,  Plaidy, 
Richter).  Editor  of  'Monthly  Mus.  Record' 
(1875-9);  contributor  to  the  'Guardian,' 
'Athenaeum.'  'Mus.  World,'  etc.;  1886,  Sec. 
of  Liszt  Scholarship.  He  comjx)sed  numer- 
ous pf. -pieces,  hymns,  songs,  etc.;  also  (in 
MS.)  a  symphony,  2  overtures,  and  a  march, 
for  orch.;  a  string-quartet;  and  cantatas. 

Barsan'ti,  Francesco,  b.  Lucca,  c.  1690; 
d.  c.  1760.  Flutist,  later  oboist,  at  Italian 
Opera,  London;  lived  in  Scotland  for  a  time, 
and  was  eng.  (1750)  as  viola-player  in  Lon- 
don. Publ.  A  Coll.  of  old  Scots  Tunes ,  w.  the 
Bass  for  Violoncello  or  Harpsichord  (Edin- 
burgh, 1742);  6  overtures  a  4;  12  vln. -con- 
certos; 6  flute-solos  w.  bass;  6  sonatas  f.  2 
vlns.  w.  bass;  6  antiphones  in  Palest rina 
style,  etc. 

Barsot'ti,  Tommaso  Gasparo  For  tu- 
na to,  b.  Florence,  Sept.  4,  1786;  d.  April, 
1868,  at  Marseilles,  where  he  founded,  in 
1821,  the  Free  School  of  Music,  of  which  he 
was  the  Director  down  to  1852. — Publ.  a 
Domine  salvum  fac  regent;  a  Methode  de  Mu- 
sique  (1828);  pf.- variations;  and  nocturnes 
for  2  voices. 

Bars  tow,  Vera,  b.  Celina,  Ohio,  June  3, 
1893.  Pupil  of  Luigi  von  Kunits  (vl.)  at 
Pittsburgh  in  1902;  next  year  won  scholar- 
ship at  the  Cons.,  and  continued  her  studies 
there  (also  under  v.  Kunits);  at  the  same 
time  studied  pf.;  in  1910  she  followed  her 
teacher  to  Vienna,  where  shir  made  her  debut 
in  January,  1912,  perf.  the  Beethoven  con- 
certo with  the  Tonkunstler'  Orch.;  in  Nov. 
of  the  same  year  made  her  Anier.  debut  with 
che  Volpe  Symph.  Orch.  in  N.  Y.  (Tchai- 
kovsky concerto);  was  heard  in  Saint-Saens' 


•  B  m.  concerto  with  Boston  Symph.  Orch. 
in  1913;  since  then  has  appeared  with  several 
of  the  larger  orchestras  and  also  successfully 
in  recitals. 

Bar'tay  [-ti],  Andreas,  Hungarian  com- 
poser; b.  Szeplak,  1798;  d.  Mayence,  Oct.  4, 
1856.  In  1838,  Director  of  the  National  Th. 
at  Pest;  gave  concerts  in  Paris  (1848); 
afterwards  settled  in  Hamburg. — Wrote  the 
Hungarian  operas  Aurelia.  Csel,  and  The 
Hungarians  in  Naples;  the  oratorio  The 
Storming  of  Of  en;  also  masses,  ballets,  etc. 

Bar'tay,  Ede,  son  of  Andreas  B.;  b.  Oct. 
6,  1825;  d.  Pest,  Aug.  31,  1901.  Director  of 
the  National  Music  Acad.,  Pest,  and  founder 
of  the  Hungarian  pension-fund  for  musicians. 
He  wrote  an  overture,  Pericles,  and  other  works. 

Barth  [bahrt],  Christian  Samuel,  famous 
player  on  and  composer  for  the  oboe;  b. 
Glauehau,  Saxony,  1735;  d.  Copenhagen,  July 
8,  1809.  He  was  a  pupil  of  I.  S.  Bach  in  the 
Leipzig  Thomasschule,  and  oboist  succes- 
sively in  orchestras  at  Rudolstadt,  Weimar, 
Hanover,  KasscI,  and  Copenhagen. — Works: 
Brilliant  concertos  and  other  pieces  for  oboe. 

Barth,  F.  Philipp  Karl  Anton,  son  of 

preceding;  b.  Kassel,  c.  1773;  succeeded  his 
father  at  Copenhagen;  publ.  collections  of 
Danish  and  German  songs,  and  a  flute- 
concerto;  other  works  in  MS. 

Barth,  Karl  Heinrich,  b.  Pillau,  Prussia, 
July  12,  1847;  taught  (1856-62)  by  L.  Stein- 
ma  nn  in  Potsdam,  and  by  v.  Btilow  (1862—4) 
at  Berlin;  also  by  Bronsart  and  Tausig. 
1868,  app.  teacher  at  Stern  Cons.,  Berlin; 
1871,  at  R.  Hochschule  f.  Musik;  since  1910 
director  of  the  pf. -department.  Is  an  able 
pianist,  especially  fine  as  ensemble  player, 
whose  concerts  in  Germany  and  England 
have  met  with  great  success.  The  trio  B., 
de  Ahna,  and  Hausmann,  have  won  golden 
opinions  wherever  they  appeared.  B.  suc- 
ceeded v.  Bulow  as  cond.  of  the  Philh.  con- 
certs at  Hamburg. 

Barth,  Richard,  violin-virtuoso  (left- 
handed);  b.  Grosswanzleben,  Prov.  of  Sax- 
ony, June  5,  1850;  pupil  of  Beck  in  Magde- 
burg, and  (1863-7)  of  Joachim  in  Hanover. 
Leader  of  orchestra  in  Minister,  later  in 
Krefeld;  then  mus.  director  at  Marburg 
Univ.  till  1895;  conductor  of  Hamburg  Philh. 
Concerts,  1895-1904;  1908  director  of  the 
Cons,  at  Hamburg.  Editor  of  /.  Brahms 
im  Briefivechsel  mit  J.  O.  Grimm  (19US). 

Barthe  [bahrt],  Grat-Norbert,  dramatic 
composer;  born  Bayonne,  France,  June  7,. 
1828;  d.  (?);  pupil  of  Leborne  at  Paris  Cons.; 
won  the  Grand  Prix  de  Rome  (1854)  with  the 
cantata  Francesca  da  Rimini. — Works:  The 
operas  Don  Carlos  and  La  Fiancee  d'Abydos 
(1865);  an  oratorio,  Judith;  etc. 


51 


barth£lemon— basili 


Barthelemon [-t3l-m6hn']  (A  nglice  Bartle- 
man),  Francois-Hippolyte,  talented  vio- 
linist and  dramatic  comp.;  b.  Bordeaux,  July 
27,  1741;  d.  Dublin,  July  23,  1808.  In  1765, 
leader  in  the  opera-orch.  at  London;  in  1770, 
do.  at  Vauxhall  Gardens;  eng.  in  Dublin, 
1784.— Operas:  Pelopidas  (London,  1766);  Le 
Fleuue  Scamandre  (Paris,  1768);  Le  Juge- 
tnent  de  Pdris  (London,  1768);  La  Ceinture 
enchanter  (ib.  ?);  The  Maid  of  the  Oaks  (ib., 
1774);  Belphegor  (ib.,  1778).— Also  wrote 
concertos  f.  vln.;  2  sets  of  duos  f.  2  vlns.; 
6  string-quartets;  studies  for  pf.  and  for  org.; 
etc. — See  Q.-Lex. 

Bartholomew,  William,  Engl,  violinist, 
writer  and  painter;  b.  London,  1793;  d.  there 
August  18,  1867.  Intimate  friend  of  Men- 
delssohn, and  the  translator  into  English  of 
the  libretti  to  Antigone,  Athalie,  CEpidus, 
Christus,  Elijah,  Lauda  Sion,  Loreley,  Wal- 
purgisnackt;  also  of  Spohr's  Jessonda,  and 
Costa's  Eli  and  Naaman,  etc. 

Bartlett,  Homer  Newton,  b.  Olive,  N.  Y.f 
Dec.  28,  1845.  Pianist,  organist,  and  com- 
poser, precociously  developed;  pupil  (1861) 
of  S.  B.  Mills,  Max  Braun,  Jacobsen,  and 
others.  Organist  in  various  New  York 
churches;  for  33  years  at  Madison  Ave. 
Baptist  Ch.  One  of  the  founders  of  'Am. 
Guild  of  Organists.'  His  publ.  works  in- 
clude a  sextet  for  strings  and  flute;  a  cantata, 
The  Last  Chieftain;  quartets,  anthems,  carols, 
and  glees,  for  men's  and  women's  voices;  and 
about  80  songs,  and  as  many  pf. -pieces.  In 
MS.  he  has  the  3-act  opera  La  Valliere;  an 
oratorio,  Samuel;  a  symph.  poem,  Apollo; 
a  concerto  for  vl.  and  orch.  in  G;  Khamsin, 
dram,  aria  for  tenor  and  orch.;  a  caprice, 
Ignis  fatuus,  and  2  marches  for  orch.;  a 
quartet  for  harp,  org.,  vln.,  and  'cello;  etc. 

Bart 'mu 88,  Richard,  organist  and  comp.; 
b.  Bitterfeld,  Dec.  23,  1859;  d.  Dessau, 
Dec.  25,  1910.  Pupil  of  Grell,  Haupt  and 
Loschhorn  in  Berlin;  court  org.  at  Dessau; 
R.  Prussian  Prof,  in  1892,  R.  M us. -Director 
in  1896.  Publ.  numerous  well-received  org.- 
comps.:  Kirchliche  Festmusiken;  2  organ- 
concertos;  4  organ-sonatas;  2  chorale- fanta- 
sias; an  oratorio,  Der  Tag  der  Pfingsten  (op. 
14);  cantatas  (Die  Apostel  in  Philippi,  op. 
50),  motets,  choruses  for  men's  and  women's 
voices,  melodramas,  songs;  his  Liturgische 
Vespern  are  a  partial  formulation  of  the 
striving  to  remodel  the  Lutheran  musical 
service.  He  held  high  rank  among  German 
.  organists. 

Ba'ry,  Alfred  Erwin  von,  b.  La  Valet ta, 
Malta,  Jan.  18,  1873.  Medical  student  and 
Dr.  mid.  (Munich  Univ.,  1898),  developed  his» 
dramatic  tenor  voice,  and  was  eng.  1902-12 
at  the  Dresden  court  opera;  since  then  at 


*  court  opera  in  Munich.  Has  sung  the  r61es 
of  Parsifal,  Siegmund  and  Tristan  most 
acceptably  at  Bayreuth. 

Ba'selt,  Fritz  (Friedrich  Gustav  Otto), 

Prolific  comp.;  b.  Ocls,  Silesia,  May  26,  1863. 
'upil  of  Concertm.  Emil  Kohler,  Breslau, 
and  L.  Bussler,  Berlin.  Has  lived  in  turn  as 
musician,  music-dealer,  composer,  teacher, 
and  cond.  in  Breslau,  Essen,  and  Nuremberg; 
since  1894,  in  Frankfort-on-M.  as  director  of 
the  Philh.  Verein  (professional  concerts  with 
full  orch.),  and  the  Frankfort  San^erverei- 
nigung  (about  1 ,200  voices.) — Drama  tic  works: 
3-act  operetta  Der  Fiirst  von  Sevilla  (Nurem- 
berg, 1888);  3-act  operetta  Don  Alvaro,  oder 
der  Hauptmann  von  Zalamea  (Ansbach,  1892) ; 
1-act  opera  Albrecht  Diirer  (Nuremberg, 
1892);  3-act  operetta  RenS  und  Gaston  (Lii- 
beck,  1893) ;  1-act  operetta  Der  Sohn  des  Peli- 
den  (Kassel,  1893);  3-act  'Spieloper'  Die 
Annaliese  (Kassel,  1896);  operetta  Die  Mus- 
ketiere  im  Damenstift  (Kassel,  1896);  1-act 
operetta  Die  Circusfee  (Berlin,  1897);  comic 
opera,  Leopold  von  Dessau;  and  2  ballets,  Die 
Altweibermuhle  (Frankfort,  1906),  and  Ro- 
koko  (Frankfort,  1907).— Besides  these,  he 
has  written  nearly  100  male  choruses,  mostly 
a  cappella,  many  of  which  are  popular;  nu- 
merous terzets,  duets,  songs;  several  original 
pieces  for  orch.,  strings,  vln.  and  pf.,  etc.; 
also  a  number  of  arrangements,  transcrip- 
tions, and  the  like. 

Base'vi,  Abramo,  writer  and  composer; 
b.  Leghorn,  Dec.  29,  1818;  d.  Florence,  Nov., 
1885.  His  2  operas,  Romilda  ed  Eszelino 
(1840),  and  Enrico  Howard  (1847),  being 
coolly  received,  he  founded  (1848?)  the  mus. 
journal  'Armonia*  (discontinued  in  1859); 
became  a  contributor  to  the  'Boccherini'; 
also  founded  (1.859)  the  'Beethoven  Matin6es' 
(now  'Societa  del  Quartetto').  He  published 
a  Studio  sulle'opere  di  Giuseppe  Verdi  (1859); 
Introduzione  ad  un  nuovo  sistema  d'  armonia 
(1862);  Studi  sul  armonia  (1865);  Compendia 
delta  storia  delta  musica  (1865-6). 

Basil  (Saint)  the  Great,  b.  329  at  Cae- 
sarea,  Cappadocia,  where  he  died  as  bishop 
in  379.  Reputed  to  have  introduced  congre- 
gational (antiphonal)  singing  into  the  East- 
ern Church,  thus  being  the  forerunner  of 
St.  Ambrose  in  the  Western. 

Basili,  Francesco,  dramatic  and  sacred 
comp.;  b.  Loreto,  Feb.,  1766;  d.  Rome,  Mar. 
25,  1850.  Pupil  of  his  father  [Andrea  B., 
1720-75],  later  of  Jannaconi  at  Rome.  M.  di 
capp.  at  Foligno,  Macerata,  and  Loreto,  and 
up  to  1824  brought  out  14  operas  and  several 
'dramatic  oratorios'  in  Rome,  Naples,  Flor- 
ence, Milan,  and  Venice.  App.  1827  censor 
of  Milan  Cons.;  in  1837,  m.  di  capp.  at  St. 

52 


BASSANI— BATH 


Peter's,  Rome. — Wrote  psalms,  motets,  lit- 
anies, a  Miserere,  a  Magnificat,  a  Requiem 
(for  Jannaconi,  1816);  symphonies,  pf .-sona- 
tas, songs,  etc. — See  Q.-Lex. 

Bassa'ni,  Geronlmo,  b.  Padua,  late  in 
the  17th  century.  Pupil  of  Lotti;  a  fine  con- 
trapuntist, singer,  singing-teacher,  produced 
2  operas  at  Venice,  Bertoldo  (1718),  and 
Amor  per  forza  (1721);  also  wrote  masses, 
motets,  and  vespers. 

Bassa'ni,  Giovanni,  m.  di  capp.  at  St. 
Mark's,  Venice,  circa  1600.  Two  vols,  of 
Concerti  ecclesiastici  (1598,  *99),  and  1  of 
4-part  Canzonette  (1587),  are  extant*. 

Bassa'ni  (or  Bassiani),  Giovanni  Bat- 
tista,  excellent  violinist  and  comp.;  b.  Padua, 
c.  1657 ;  d.  Bergamo,  Oct.  1. 1716.  M.  dicapp. 
at  Bologna  and  Ferrara,  where  he  was  elected 
m.  di  c.  in  1703,  of  the  'Accademia  della 
Morte.' — Works:  6  operas;  9  oratorios; 
masses,  motets,  psalms,  etc.;  sonatas  f.  vln. 
Cf.  F.  Pasini,  Notes  sur  laviedeG.B.  B.,  in 
'Sbd.  Int.  M.-G.,'  vii  (1906).— See  Q.-Lex. 

Basse'vi,  Giacomo.     See  Cervetto. 

Bassford,  William  Kipp,  pianist  and 
organist;  b.  New  York,  April  23,  1839;  d. 
there  Dec.  22,  1902.  Pupil  of  Sam.  Jackson. 
After  concert-tours  as  a  pianist  through  the 
U.  S.,  he  settled  in  N.  Y.;  was  organist  in 
several  churches  (finally  of  Calvary  Church, 
East  Orange,  N.  J.),  also  taught  pf.  and  com- 
position.— Works:  Cassilda,  2-act  opera; 
mass  in  Eb;  pf. -pieces;  songs. 

Bassi,  Amadeo  (Vittorio),  operatic  tenor; 
b.  Florence,  July  25,  1876.  Having  received 
his  entire  musical  instruction  from  the  mar- 
chese  Pavese  Negri  at  Florence,  he  made  his 
debut  there,  in  Nov.  1889,  as  the  Duke  in 
Rigoletto.  After  successful  appearances  in 
various  Italian  cities  he  spent  the  seasons 
1902-7  in  the  principal  cities  of  S.  America, 
where  he  at  once  became  a  great  favorite. 
In  1907  he  sang  at  Cov.  Garden;  1906-8  at 
the  Manhattan  Op.  H.,  New  York;  the  next 
two  years  again  in  Italy;  1910-12  with  the 
Chicago  Opera  Co.  His  repertoire  includes 
over  50  operas  (chiefly  Italian);  has  created 
the  roles  of  Angel  Clare  (d'Erlanger's  Tess), 
Federico  (Franchetti's  Germania),  Giorgio 
(Mascagni's  L Arnica),  Lionello  (Cilea's  Glo- 
ria), etc. 

Baa 'si,  Luigi,  dramatic  baritone;  b.  Pe- 
saro,  1766;  d.  Dresden,  1825.  Sang  in  several 
Italian  theatres;  from  1784-1806  in  Prague; 
lived  m  Vienna,  again  (1814)  in  Prague,  and 
became  director  of  the  Dresden  Opera.  Mo- 
zart wrote  the  part  of  Don  Giovanni  for  B. 

Bastardel'la.    SeeAcujARi. 

Bastiaans  [bahs-te-ahnsl,  J.  G.,  Dutch 
comp.  and  org.;  b.  Wilp,  1812;  d.  Haarlem, 


53 


Feb.  16,  1875.  Pupil  of  Schneider  at  Dessau 
and  Mendelssohn  at  Leipzig;  organist  at  the 
Zuiderkerk,  Amsterdam,  and  teacher  at  the 
Blind  Inst.  App.  in  1868  org.  of  the  great 
organ  at  St.  Bavo's,  Haarlem  (succ.  by  his 
son,  Johann;  b.  1854;  d.  1885).  Eminent 
teacher.  Publ.  a  bk.  of  chorals,  some  songs,  etc. 

Baston  [bah-t6hn/],  Josquin,  Netherland 
contrapuntist;  1552-3,  court  comp.  to  Sigis* 
mund  Augustus  at  Cracow.  Motets  and 
chansons  by  him  are  found  in  many  colls. 

Cublished  at  Antwerp,  Louvain,  and  Augs- 
urg  from  1542-61. — See  Q.-Lex. 

Batch 'elder,  John  C,  pianist  and  org.; 
b.  Topsham,  Vt.,  1852.  Pupil  for  4  years  of 
Haupt,  Ehrlich,  and  Lose h horn,  at  Berlin. 
Teacher  of  organ  and  piano  in  Detroit  Cons. ; 
org.  of  St.  Paul's  Episc.  Ch.  Has  given  many 
public  organ-recitals. 

Bates,  Joah,  British  conductor;  b.  Hali- 
fax, Mar.  19,  1741;  d.  London,  June  8,  1799. 
Promoter  and  conductor  of  the  famous 
Handel  Commemoration  festivals  at  London 
(1784,  -5,  -6,  -7,  '91);  founder,  with  'other 
amateurs,'  of  the  Concerts  of  Ancient  Music 
which  flourished  till  1848  [not  Pepusch's, 
which  came  to  an  end  in  1792]. — No  compo- 
sitions of  his  appear  to  be  extant. 

Bates,  William,  English  comp.  of  the 
18th  cent.  (1720-90?),  connected  with  the 
Marylebone  and  Vauxhall  Gardens,  London. 
Works:  Comic  opera  The  Jovial  Crew  (1760), 
altered  to  The  Ladies'  Frolic  (1770);  opera 
Pharnaces  (1765);  a  'Mus.  prelude,'  The  The- 
alrical  Candidates  (1775);  and  Flora,  or  Hob 
in  the  Well  (1768);  also  canons,  glees,  catches; 
vln.-sonatas;  etc. 

Bateson,  Thomas,  b.  England  c.  1575; 
d.  (?).  1599-1611,  org.  of  Chester  cathedral, 
later  of  Christ  Ch.  cathedral,  Dublin.— 
Mus.  Bac.  (Dublin).  Wrote  A  Set  of  Madri- 
gals in  praise  of  Queen  Elisabeth  (1601);  First 
Set  of  Madrigals  (1604;  reprinted  1846); 
Second  Set  (1618). 

Bath,  Hubert,  b.  Barnstaple,  England, 
Nov.  6,  1883.  Pupil  of  Dr.  H.  J.  Edwards; 
entered  R.  A.  M.  in  1900,  and  studied  there 
with  O.  Beringer  (pf.),  F.  Corder  (comp.), 
R.  Steggall  (org.),  and  Ph.  Cathie  (vl.); 
elected  A.  R.  A.  M.,  1905;  cond.  of  Thomas 
Quinlan's  opera-troupe  on  its  world-tour, 
1912-13;  cond.  opera  season  at  Shaftesbury 
Th.,  London,  1915;  prof,  op.-class  at  G.  S. 
M.;  member  R.  Philh.  Soc.;  member  Incorp. 
Soc.  of  Mus.;  mus.  adviser  to  the  London. 
County  Council.— Works:  Variations  f.  orch. " 
(1905);  Hannele,  symph.  poem  (1908);  Two 
Sea-Sketches,  f.  orch.  (1909);  African  Suite, 
f.  orch.  (1915);  the  cantatas  Legend  of  Ner- 
budda  (1809),  The  Wedding  of  Shon  Maclean 
(1910),  The  Jackdaw  of  Rheims  (1911),  Look  at 


BATH  E— B  ATTISTI N I 


the  Clock  (191 1),  The  Wake  of  O'Connor  (1914) ; 
numerous  pieces  for  pf.,  vl.t  vcl.,  and  fl.; 
about  150  songs  (among  them  30  by  Fiona 
Macleod). 

Bathe,  William,  b.  Ireland,  Apr.  2,  1564; 
d.  Madrid,  June  17,  1614;  entered  the  Jesuit 
Order  in  1599,  and  after  that  lived  in  Lisbon, 
Salamanca  and  Madrid.  Wrote  one  of  the 
first— if  not  the  first — theoretical  works  on 
music  in  English,  Brief  Introduction  to  the 
true  art  of  Musicke  (1584);  also  A  Brief  Intro- 
duction to  the  Skill  of  Song  (1600). 

Batiste,  Antoine-fedouard,  organist;  b. 
Paris,  Mar.  28,  1820;  d.  there  Nov.  9,  1876. 
Pupil  (1828)  and  prof.  (1836)  at  Paris  Cons, 
(harmony,  accomp.,  and  choral  classes). 
Organist  of  St.-Nicolas-des-Champs  (1842- 
54),  then  of  St.-Eustache.  He  composed 
much  excellent  organ-music,  also  pf. -pieces 
and  songs.  Edited  the  official  Solfjtges  du 
Conservatoire  (12  vols.),  and  published  a 
Petit  Solfhge  harmonique. 

Batistin.    See  Stuck,  Joh.  Bapt. 

Batka,  Richard,  b.  Prague,  Dec.  14, 
1868.  Ph.D.  of  Prague  University;  1896-8, 
editor,  with  Teibler,  of  the  'Neue  musika- 
lische  Rundschau*  and  mus.  critic  of  the 
4Neue  Revue*  and  the  'Prager  Tageblatt'; 
founded  in  1903,  and  conducted  till  1908,  the 
Durerbund  (giving  hist,  and  modern  con- 
certs). In  1908  he  settled  in  Vienna,  where 
he  still  lives  as  mus.  ed.  of  the  'Wiener 
Fremdenblatt'  and  lecturer  on  the  hist,  of 
music  at  the  'Akademie  der  Tonkunst';  is 
also  editor  (since  1897)  of  the  4Kunstwart' 
and  (since  1909),  with  R.  Spccht,  of  'Der 
Mcrkcr.' — Works:  Biographies  of  Bach  and 
Schumann  (in  Reclam's  ed.,  Leipzig,  1892); 
Aus  der  Musik-  und  Theaterwelt  (Prague, 
1894);  Martin  Pluddemann:  Kine  kritische 
Studie  (Prague,  1896);  Musikalische  Streif- 
ziige  (Leipzig,  1898);  Die  Musik  der  Griechen 
(1900);  Die  mehrstimmige  Kunstmusik  des 
Mittelalters  (1901);  with  P.  Rungc,  Die  Lieder 
Millie hs  von  Prag  (in  'Dkm.  dcutschcr  Ton- 
kunst aus  Bohmen,'  1905);  Die  Musik  in 
Bohmen  (Berlin,  1906);  Geschichte  der  Musik 
in  Bohmen  (Vol.  i:  Bohmen  unter  deutschem 
Einfluss  [900-1333],  Prague,  1906);  Aus  der 
Opernwelt  (1907);  Allgemeine  Geschichte  der 
Musik  (2  vols.,  Stuttgart,  1909-11);  Richard 
Wagner  (Berlin,  1912).  He  is  the  author  of  the 
librettos  of  many  modern  German  operas 
(almost  all  of  Blech's),  and  has  translated  the 
texts  of  numerous  foreign  operas;  edited  also 
the  collections  4Bunte  Buhne'  (1902  et  seq.), 
'Mozart's  gesammelte  Poesien'  (1906),  4Haus- 
musik'  (1907);  contributed  several  analytical 
essays  to  Schlesinger's  'Musikfiihrer'  ^Berlin). 

Baton  |>t6hn'],  Henri,  b.  Paris,  1710;  mu- 
sette-player; his  brother  Charles  ('BAton  le 


jeune'),  d.  Paris,  1758,  a  performer  on  the 
vielle,  wrote  pieces  for  vielle  and  musette, 
and  a  Mcmoire  sur  la  vielle  en  D  la  re  (in 
'Mercure  de  France,'  1757). 

Bat'ta,  Alexandre,  b.  Maastricht,  July  9, 
1816;  d.  Versailles,  Oct.  8,  1902.  Brilliant 
'cellist,  pupil  of  Platel  in  Brussels  Cons.; 
settled  1835  in  Paris.  Made  very  successful 
concert- tours  on  the  Continent. — Works: 
Many  melodious  pieces  and  transcriptions  for 
'cello  with  pf.-acc. 

Battaille  [-tah'y'],  Charles-Aimable,  dra- 
matic bass;  b.  Nantes,  Sept.  30,  1822;  d. 
Paris,  May  2,  1872.  At  first  a  medical  stu- 
dent ;  sang  at  the  Opera-Comique,  Paris,  from 
1848-57,  when  a  throat -disorder  closed  his 
public  career.  1851,  prof,  of  singing  at  the 
Cons.  Published  an  extensive  Method  of 
Singing  in  2  vols.:  I.  Nouvelles  recherches  sur 
la  phonation  (1861),  II.  De  la  physiologic  ap- 
pliquee  au  mecanisme  du  chant  (1863). 

Battanchon  [-tahn-sh6hn'],  Feiix.eminent 
'cellist  and  composer;  b.  Paris,  April  9, 1814;  d. 
there  July,  1893.  Pupil  of  Vaslin  and  Nor- 
blin  at  the  Paris  Cons.;  from  1840,  member 
of  Grand  Opera  orch.  Invented  (1846),  and 
vainly  tried  to  popularize,  a  small  style  of 
'cellor called  'Baryton.' 

Batten,  Adrian,  English  comp.  and  org.; 
b.  circa  1585;  d.  1637.  Vicar-choral  of  West- 
minster Abbey  in  1614,  and  of  St.  Paul's  in 
1624,  where  he  was  also  organist.  Wrote 
church-services,  excellent  anthems,  and  other 
sacred  music  of  rather  mediocre  quality; 
some  pieces  are  published  in  'Boyce's  Cathe- 
dral Music,'  also  by  Novello. 

Batti8hill,  Jonathan,  b.  London,  May, 
1738;  d.  Islington,  Dec.  10,  1801.  A  chorister 
(1747)  in  St.  Paul's,  and  later  articled  to  W. 
Savage,  he  became  deputy-org.  (under  Boyce) 
at  the  Chapel  Royal,  and  afterwards  cond. 
(cembalist)  at  Covent  Garden,  at  the  sams 
time  holding  the  post  of  organist  in  several 
London  parishes.  With  Arue  he  wrote  an 
opera,  Almena,  for  Drury  Lane  (1764);  he 
also  composed  a  pantomime,  Tlte  Rites  of 
Hecate,  in  that  year.  His  many  anthems, 
glees,  catches  and  songs  were  deservedly 
popular. 

Battis'ta,  Vincenzo,  dramatic  composer; 
b.  Naples,  Oct.  5,  1823;  d.  there  Nov.  14, 
1873.  Pupil  of  the  Naples  Cons.  He  wrote 
13  operas,  11  of  which  were  produced  at 
Naples,  between  1844-69,  with  temporary 
success,  but  now  forgotten. 

Battisti'ni,  Mattia,  b.  Rome  (?),  Nov. 
27,1857.  Renowned  dram,  baritone.  Debut 
in  Donizetti's  La  Favorita  at  Rome,  Teatro 
Argentina,  1878;  immediately  engaged  for 
the  Italian  opera  in  Buenos  Ay  res.    Has  sung 


54 


BATTMANN— BAUMBACH 


since  then  in  Italian  on  all  principal  stages  in 
Italy,  Spain,  Portugal,  London,  also  (1893) 
in  Berlin,  Petrograd,  etc. 

Battmann,  Jacques-Louis,  b.  Maas- 
munster,  Alsatia,  Aug.  25,  1818;  d.  Dijon, 
July  7,  1886.  Organist  at  Belfort  (1840), 
later  at  Vesoul.  Wrote  pieces  and  eludes  for 
pf.  and  for  organ;  Masses,  Motets,  choral 
works;  an  Harmonium  Method,  and  many 
pieces  for  harmonium;  a  Piano  Method;  and 
a  treatise  on  harmony,  teaching  the  accomp. 
of  Plain  Song. 

Batton  [-tdhn'],  Desire*  -  Alexandre,  b. 
Paris, Jan.  2, 1797;d.  Versailles,  Oct.  15, 1855. 
Pupil  of  the  Cons.  (Cherubini);  Grand  prix 
de  Rome,  1816,  for  his  cantata.  La  mart 
d' Adonis.  His  operas,  La  fenitre  secrete 
(1818),  Etkelvina  (1827),  Le  prisonnier  d'etat 
(1828),  Le  champ  du  drap  &or  (1828),  had 
poor  success;  but  La  Marquise  de  BrinviUiers 
(1832,  written  jointly  with  Auber,  Herold, 
and  others)  was  better  received.  In  1842  he 
was  app.  Inspector  of  the  branch-schools  of 
the  Cons.,  and  teacher  of  a  vocal  class  in  1849. 

Battu  f-tu'],  Pantaleon,  b.  Paris,  1799; 
d.  there  Jan.  17,  1870.  Violinist,  pupil  of 
the  Cons.  (R.  Kreutzer);  belonged  to  the 
orchestra  of  the  Opera  and  the  court  until 
1830;  in  1846,  2nd  'chef  d'orchestre'  at  the 
Opera;  retired  1859. — Works:  2  vln.-con- 
certos;  3  duos  concertants  for  2  vlns.;  theme 
vara  f.  vln.  w.  orch.;  romances  f.  vln.  w.  pf. 

B&tz,  Karl,  b.  Sommerda,  Thuringia,  Mar. 
17,  1851;  d.  Berlin,  1902.  Lived  1871-86  in 
America,  then  in  Berlin,  where  he  founded 
the  'Musikinstrumenteri-Zeitung'  in  1890.  He 
publ.  pamphlets  on  instrument-making,  and 
on  Die  Musikinstrumente  der  Indianer  (1876). 

Baudiot  [boh-d'yoh'],  Charles-Nicolas,  b. 

Nancy,  Mar.  29,  1773;  d.  Paris,  Sept.  26, 
1849.  'Cellist,  pupil  of  the  elder  Janson, 
whom  he  succeeded,  in  1802,  a9  'cello-prof, 
at  the  Cons.  In  1816,  1st  'cellist  in  the  royal 
orch.;  pensioned  in  1832.  Publ.  a  great 
variety  of  chamber-music  for  'cello,  and  2 
concertos,  2  concertinos,  etc.,  for  ditto;  like- 
wise many  arrangements.  Wrote  MHhode 
compute  de  ViolonceUe  (op.  25),  and  Instruc- 
tion pour  les  compositeurs,  a  guide  to  writers 
for  'cello.  With  Levasseur  and  Baillot  he 
wrote  the  'cello  method  used  at  the  Cons. 

Baudoin(or  Baudouyn) .  See  Bauldewijn. 

Bau'er,  Chrysostojnus,  organ-builder  in 
Wilrttemberg  early  in  the  18th  century.  In- 
vented the  single  large  bellows,  replacing  the 
set  of  small  ones  formerly  in  use. 

Bau'er,  Harold,  distinguished  pianist,  b. 
London,  of  an  English  mother  and  German 
father,  April  28,  1873.  Studied  violin  with 
his  father  and  Adolf  Pollitzer;  first  appeared 
as  a  violinist  in  1883  at  London;  successful 


tours  of  England  for  9  years.  Went  to  Paris 
in  1892,  studied  piano  for  a  year  with  Pade- 
rewski  (the  only  pf  .-instruction  he  ever  had), 
and  made  first  pianistic  tour  in  Russia  1893-4. 
Returning  to  Paris,  he  gave  piano-recitals, 
followed  immediately  by  engagements  in 
France,  Germany  and  Spain.  Has  played 
since  in  Holland,  Belgium,  Switzerland,  Eng- 
land, Scandinavia,  and  the  United  States, 
with  great  success.  ^  He  is  also  a  remarkable 
ensemble  player  (with  Thibaut  and  Casals). 
He  resides  in  Paris. 

Bauerle,  Hermann,  musical  editor,  and 
comp.  of  numerous  sacred  a  cappella  choruses; 
b.  Ebersberg,  Wurttemberg,  Oct.  24,  1869. 
Studied  theol.  at  Tubingen,  also  studying 
music  with  E.  Kauffmann;  took  holy  orders 
in  1895,  and  was  court  chaplain  (Thurn  and 
Taxis)  from  1899-1908.  From  1898  he  at- 
tended the  Ratisbon  Music  School,  be- 
coming teacher  there  for  harm,  and  cpt.  in 
1901.  In  1906  he  was  raised  to  the  dignity 
of  Papal  Privy  Chamberlain,  with  the  title 
'Monsignore.'  Took  degree  of  Dr.  phil, 
(Leipzig)  in  1906  with  thesis  Eine  musik- 
philologische  Studie  uber  die  7  Busspsalmen 
Lassos.  Has  also  publ.  Palestrina  muss 
populdrer  werden  (1903),  Der  Vatikaniscfie 
Choral  in  Reformnotation  (1907),  and  Liturgie 
(1908;  a  theory  of  the  R.  C.  cult).  His  spe- 
cialty, however,  is  the  editing  of  early 
church-music  in  a  modern  and  practicable 
form;  in  his  'Bibliothek  altklassischer  Kir- 
chenmusik  in  moderner  Notation,'  a  series 
publ.  since  1903,  bars  are  introduced,  the 
C -clefs  eliminated,  and  the  note-values  much 
abbreviated.  The  following  numbers  have  ap- 
peared: Palestrina;  Vol.  i,  10  masses  a  4 
(1903);  vol.  ii,  52  motets  (1904);  vol.  iii, 
masses  a  4  (1905);  vol.  iv,  10  masses  a  5 

51906).  Lasso:  Septem  P salmi  poenitentiales 
1906).  Vittoria:  Motets  a  4,  and  6  masses 
a  4  (1904-7) .  J.  J.  Fux:  Missa  canonica  and 
Missa  quadragesimalis. 

Bauldewijn  (or  Baulduin,  Baldewln, 
Balduin,Baudoin,  Baudouyn  [boh-dwan']), 
Noel  (Na talis),  from  1513-18  'maitre  de 
chapelle'  at  Notre-Dame,  Antwerp,  where  he 
diea  in  1529.  Two  of  his  motets  are  in 
Petrucci's  'Mottetti  della  Corona'  (Venice, 
1519);  others  in  other  collections;  also  masses 
in  MS.  at  Rome  and  Munich. 

Bau'mann,  Konrad.    See  Paumann. 

Baum'bach,  Fiiedrich  August,  comp. 
and  writer;  b.  1753;  d.  Leipzig,  Nov.  30,  1813. 
From  1778-89,  Kapellm.  at  Hamburg  opera; 
then  settled  in  Leipzig  as  a  composer. — 
Works:  Songs,  instr.-pieces  (for  harpsichord, 
piano,  'cello,  violin,  guitar,  etc.);  also  wrote 
the  musical  articles  for  the  Kurz  gefasstes 
Handwbrterbuch  uber  die  schonen  Kiinste 
(Leipzig,  1794). 


55 


BAUMFELDER— BAYER 


Baum'felder,  Friedrich,  b.  Dresden,  May 
28,  1836;  pianist,  and  comp.  of  brilliant  salon- 
music;  pupil  of  Julius  Otto,  later  of  the  Leip- 
zig Cons.  (Moscheles,  Wenzel,  Hauptmann). 
Cond.  of  the  Schumann  Singakademie  at 
Dresden  (R.  Musikdirektor).  Has  also  publ. 
etudes  (Tirocinium  musicae,  op.  300);  a  pf.- 
suite  (op.  101);  a  pf. -sonata  (op.  60);  a  sym- 
phony; a  choral  work  w.  orch.,  Der  Geiger  zu 
Gmund. 

Baum'gart,    Expedlt     (Friedrich),    b. 

Grossglogau,  Jan.  13,  1817;  d.  Warmbrunn, 
Sept.  IS,  1871.  University  Music- Director 
at  Breslau,  and  teacher  in  the  R.  Inst,  for 
Church-music.  Edited  K.  Ph.  E.  Bach's 
Clavier-Sonaten. — Monograph  by  H.  Palm 
(1872). 

Baum'garten,  Gotthilf  von,  b.  Berlin, 
Jan.  12,  1741;  d.  Gross-Strehlitz,  Silesia, 
Oct.  1,  1813. — Operas:  Zentire  und  Azor  (Bres- 
lau, 1775);  Andromeda  [a  melodrama]  (ib., 
1776);  Das  Grab  des  Mufti  (ib.,  1778). 

Baum'garten,  Karl  Friedrich,  b.  La- 
beck,  1740  (?);  d.  London,  1824;  from  1780- 
94  he  was  leader  of  the  Covent  Garden 
opera-orch.  —  Works:  Operas  and  panto- 
mimes, the  best-known  being  Robin  Hood 
(London,  1786)  and  Blue  Beard  (1792). 

Baum'gartner,  August,  b.  Munich,  Nov. 
9,  1814;  d.  there  Sept.  29, 1862.  Choirmaster 
at  Ch.  of  St.  Anna,  Munich.  He  publ.  papers 
on  'mus.  shorthand1  in  the  'Stenograpnische 
Zeitschrift'  (1852);  a  Kurz  gefasste  Anleilung 
%ur  musikalischen  Stenographic  oder  Tonzei- 
chenkunst  (1853);  and  a  Kurz  gefasste  Ge- 
schichte  der  musikal.  Notation  (1856).  Comp. 
an  instr.  Mass;  a  Requiem;  Psalms;  also 
pf.-pieces,  choruses,  etc. 

Baum'gartner,  Wilhelm   [Guillaume], 

b.  Rorschach,  May  15,  1820;  d.  Zurich, 
Mar.  17,  1867.  Vocal  composer;  Music- 
director  at  the  Univ.  of  Zurich.  Wrote  quar- 
tets for  male  voices,  pf.-pieces,  and  songs. 

Baumker,  Wilhelm,  b.  Elberfeld,  Oct. 
25,  1842;  d.  Rurich,  Mar.  3,  1905,  as  pastor 
(since  1892).  1869,  chaplain  and,  1880, 
school-inspector  at  Niederkruchten;  a  con- 
tributor to  the  'Allgem.  deutsche  Biographic/ 
the  'Monatshefte  fur  Musikgeschichte,'  etc.; 
author  of  Paldstrina,  ein  Beitrag,  etc.  (1877); 
Orlandus  di  Lassust  ein  historisckes  Bildniss 
(1878) ;  Zur  Geschichte  d.  Tonkunst  in  Deutsch- 
land  (1881);  Der  TodUntanz  (1881);  Nieder- 
landische  geistlicke  Lieder.  nebst  ihren  Sing- 
weisen  aus  Handschriften  des  IS.  Jahrh. 
(1888),  and  Ein  deutsches  geistliches  Lieder- 
buck  (melodies  from  the  15th  century; 
Leipzig,  1896).  His  great  work  is  Das  katho- 
lische  deutsche  Kirchenlied  in  seinen  Sing- 
weisen  von  denfruhesten  Zeiten  bis  gegen  Ende 
des    17.    Jahrhunderts    (4    vols.,    Freiburg, 


1883-1911).  Vol.  ii  (1883)  and  vo|.  iii  (1891) 
appeared  originally  as  continuation  of  the 
work  begun  by  K.  S.  Meister,  who  publ. 
vol..  i  in  1862;  B.  revised  this  vol.  in  1886; 
vol.  iv  (1911)  was  edited  by  J.  Gotzen  from 
B.'s  notes,  and  also  contains  supplements  to 
the  preceding  vols. 

Baur,  Charles  (Alexis  ?),  celebrated 
harpist;  b.  Tours,  France,  1789;  d.  (?). 
Studied  pf.  with  his  father,  and  harp  with 
his  mother,  who  were  teachers  of  those 
instruments;  went  to  Paris  in  1805,  and  st. 
with  Nadermann;  settled  in  London,  1820, 
as  teacher;  was  still  living  there,  1834. 

Bausch,  Ludwig  Christian  August,  b. 

Naumberg,  Jan.  15,  1805;  d.  Leipzig,  May 
26,  1871.  Celebrated  maker  andrepairer  of 
violins  and  bows;  est.  first  (1826)  in  Dresden, 
then  Dessau  (1828),  Leipzig  (1839),  Wies- 
baden (1862),  Leipzig  (1863).  His  son 
Ludwig  (b.  1829,  d.  Leipzig,  Apr.  7,  1871) 
lived  long  in  New  York,  afterwards  setting 
up  for  himself  at  Leipzig.  Otto,  a  younger 
son  (1841-74),  inherited  the  business,  which 
then  passed  to  A.  Paulus  at  Markneukirchen. 

Bausznern,  Waldemar  von,  b.  Berlin, 
Nov.  29,  1866;  pupil  of  Kiel  and  Bargiel  at 
the  R.  Hochschule,  Berlin,  1882-8;  1891, 
cond.  of  the  'Musikverein*  and  'Lchrergesang- 
verein*  at  Mannheim;  1895,  of  the  Dresden 
'LiedertafeV;  1896,  also  of  the  Dresden  'Bach- 
verein';  1903-8,  teacher  in  the  Cologne  Cons., 
and  cond.  of  the  'Tonktlnstlerverein';  since 
1908,  dir.  of  the  Grand -Ducal  Cons,  at  Wei- 
mar.— Works:  The  operas  Dichter  und  Welt 
(Weimar,  1897);  Durtr  in  Venedig  (Weimar, 
1901);  Herbort  und  Hilde  (Mannheim,  1902); 
Der  Bundschuh  (3-act  music-drama,  Frank- 
fort, 1904);  3  symphonies  (the  3rd,  Lebent 
with  choral  finale);  Ballade  for  full  orch.; 
overture,  Champagner;  string-quartet;  quin- 
tet for  pf.  and  strings;  quintet  for  pf.,  vln., 
clar.,  horn  and  'cello;  other  chamber-music; 
ballad-cycle,  Das  klagende  Lied;  songs  f.  solo 
voice  with  orch.;  mixed  choruses;  etc. 

Bax,  Arnold  E.  Trevor,  b.  London,  Nov. 
8,  1883.  Pupil  at  R.  A.  M.  (1900-5)  of  T. 
Matthay  (pf.)  and  F.  Corder  (comp.).— 
Works:  A  Celtic  Song  Cycle  (1905);  the 
symph.  poems  Into  the  Twilight  (1908),  In 
the  Fairy  Hills  (1909),  Christmas  Eve  on  the 
Mountains  (1911);  Three  Pieces  for  orchestra 
(1912) ;  choruses  with  orch.  Fatherland  (1907) 
and  Enchanted  Summer  (1909);  King  Kojata, 
2-act  ballet  (1911);  Festival  Overture  (1909); 
2  string-quartets;  a  string-quintet;  a  pf.-trio; 
a  sonata  for  pf.  and  vl.;  pf.-pieces  and  songs. 

Bay'er,  Josef,  composer  and  conductor; 
b.  Vienna,  March  6,  1852;  d.  there  Mar.  12, 
1913.  Intended  for  a  mercantile  career,  he 
also  studied  at  the  Vienna  Cons.,  1859-70, 


56 


BAZIN— BEALE 


under  Georg  and  Josef  Hellmesberger,  Hew- 
ler  (vln.),  Dachs,  Ramesch  and  Schenner 
(pf.),  Bruckner  and  Dessoff  (harm.).  1870, 
violinist  in  the  Court  Opera;  from  1885  till  his 
death,  director  of  the  ballet-music,  with  the 
title  'k.  k.  Hof opern theater- Kapellm.'  He 
was  a  knight  of*  the  Franz-Josef  Order,  of 
the  Belgian  Leopold  Order,  etc.  Fruitful 
comp.  in  the  domain  of  light  opera  and  ballet, 
many  of  his  works  being  standard  repertory 
pieces  in  Vienna  and  elsewhere,  and  distin- 
guished by  flowing  melody  and  piquant 
rhythms.— ^Operettas:  Der  Chevalier  van  San 
Marco  (first  prod.  Thalia  Th.,  New  York, 
Feb.  4,  1881,  cond.  by  the  composer);  Mene- 
laus  (Vienna,  1892);  Frdulein  Hexe  (ib., 
1898);  Der  Polizeichef  (ib.,  1904;  very  succ.); 
and  Arabella  (not  perf.). — Ballets  prod,  at 
the  Vienna  Court  Opera:  Wiener  Walter 
(1886);  Die  Puppenfee  (1888);  Sonne  und 
Erde  (1889);  Ein  Tanzmarchen  (1890);  Rouge 
et  Noir  (1892);  Die  Donaunixe  (1892);  Eine 
Hochzeit  in  Bosnien  (1893,  w.  Bosnian  folk- 
melodies);  Burschenliebe  (1894);  Rund  urn 
Wien  (1894);  Die  Brant  von  Korea  (1896); 
Die  kleine  Welt  (1904).— Prod,  at  Berlin: 
Deutsche  M&rsche  (1887);  Die  Welt  in  Bild 
und  Tans  (1892,  for  the  opening  of  the 
Lindentheater) ;  Die  Engelsjdger  (1896);  and 
Columbia  (1893);  also  Olga  (Vienna.  1895); 
and  Der  Kinder  Weihnachtstraum  (Dresden, 
1891/. — Besides  the  above,  B.  has  written 
the  music  for  numerous  aristocratic  festival 
productions  (Aschenbrbdel,  Paris  in  Wien, 
Jeunesse,  etc.,  and  the  ballot  Nippes  at  the 
Schonbrunner  Schlossth.  in  April,  1911). 
Works  in  MS.  are  Alien  Fata  (a  Bosnian 
opera),  Die  Muhle  von  Sanssouci  (comedy- 
opera),  and  Der  Goldasoka  (a  Hindu  opera). 

Bazin  [bah-zan'],  Francois-fimanuel-Jo- 
seph,  b.  Marseilles,  Sept.  4,  1816;  d.  Paris, 
July  2,  1878.  Studied  at  Paris  Cons.;  prix  de 
Rome,  1840;  prof,  of  singing,  1844,  later  of 
harmony;  prof,  of  comp.,  1871,  succeeding 
Ambr.  Thomas;  member  of  the  Acad6mie, 
1872,  succeeding  Carafa. — Works:  9  operas, 
no  longer  performed;  also  a  Cours  d } harmonic 
theorique  et  pratique,  adopted  at  the  Cons. 

Bazzinl  [-tse'ne],  Antonio,  b.  Brescia, 
March  11,  1818;  d.  Milan,  Feb.  10,  1897. 
Violin-pupil  of  Faustino  Camisani;  at  17, 
m.  di  capp.  of  the  Ch.  of  S.  Filippo,  for  which 
he  wrote  masses  and  vespers,  besides  bringing 
out  6  oratorios  with  full  orch.  Played  1836 
before  Paganini,  and,  following  his  advice  to 
travel,  went  in  1837  to  Milan,  and  gave 
successful  concerts.  1840-6  his  tours  ex- 
tended to  Venice,  Trieste,  Dresden,  Berlin, 
Copenhagen,  Warsaw,  and  finally  Leipzig, 
where  he  stayed  some  time,  an  enthusiastic 
student  of  Bach  and  Beethoven.  Travelled 
through  Italy,  then  (1848)  Spain  and  (1852) 


France,  giving  some  20  concerts  in  Paris;  he 
also  went  to  England,  but  in  1864  returned 
to  Brescia,  and  devoted  himself  to  composi- 
tion. 1873,  app.  prof,  of  comp.  in,  and  in 
1882  Director  of,  Milan  Cons.  In  his  nu- 
merous comps.  the  exuberance  of  Italian  mel- 
ody is  wedded  to  a  harmony  of  German 
depth  and  richness,  giving  him  a  uniaue 
place  in  the  annals  of  Italian  music. — Works: 
Opera  Turanda  (Milan,  1867,  unsucc.);  sym- 
phonic poem  Francesca  da  Rimini  (1890); 
overtures  to  Al fieri 's  Saul  and  Shakespeare's 
Lear;  symphonic  cantata  Senacheribbo;  cantata 
La  Risurrezione  di  Cristo;  Psalms  LI  and  LVI ; 
concertos  for  vln.  with  orch.;  5  string-quar- 
tets and  1  string-quintet  (considered  his  finest 
work);  many  arrangements  and  original 
pieces  for  vln.  and  pf.;  songs;  etc. 
Be,  Guillaume  le.    See  Le  Be. 

Beach,  Mrs.  H.  H.  A.  (maiden-name 
Amy  Marcy  Cheney),  b.  Henniker,  N.  H.t 
Sept.  5,  1867.  Gifted  composer,  residing  in 
Boston,  Mass.  Studied  with  £.  Perabo  and 
K.  Baermann  (pf.),  and  Junius  W.  Hill 
(harmony);  wholly  self-taught  in  cpt.,  comp., 
and  orchestration.  After  her  pianistic  debut 
in  Boston  (1883)  she  appeared  frequently  in 
recitals  and  with  orch.  (Boston  Symphony, 
Chicago  Symphony,  etc.),  until  her  marriage 
to  Dr.  B.  in  1885.  Since  then  her  public 
appearances  have  been  less  frequent,  as  she 
devotes  her  time  chiefly  to  composition. — 
Works:  Mass  in  Eb,  op.  5 ;  The  Minstrel  and 
the  King,  op.  16,  for  s.,  m.  ch.,  and  orch.; 
Bethlehem,  Christmas  anthem,  op.  24;  The 
Rose  of  Avontown,  op.  30,  ballad  for  sop.  and 
female  ch.;  Gaelic  Symphony  in  E  m.,  op. 
32;  sonata  for  pf.  and  vl.  in  A  m.,  op.  34; 
concerto  for  pf.  and  orch.,  C#  m.,  op.  45;  do. 
in  F#  m.,  op.  67;  The  Chambered  Nautilus, 
op.  66,  for  s.,  ch.,  and  orch. ;  Panama  Hymn 
for  ch.  and  orch.  (for  the  Exposition  of 
1915);  many  choruses,  songs,  ana  pf. -pieces. 
Cf.  P.  Goetschius,  Mrs.  H.  H.  A.  B.  (Boston, 
1906). 

Beale,  Frederic  Fleming,  b.  Troy,  Kans., 
July  13,  1876.  Studied  w.  Jessie  L.  Gaynor 
and  Adolf  Weidig,  at  Chicago  (harmony, 
comp.,  orch.),  Wilhelm  Middelschulte  (organ). 
Accompanist  for  Glenn  Hall,  A.  G.  Janpolski, 
and  George  Hamlin,  on  tours;  org.  old  Unity 
Ch.,  St.  Joseph,  Mo.;  org.  in  Seattle,  and 
Caldwell,  Idaho;  dir.  pf.-dept.  Univ.  Wash- 
ington, Seattle,  1908-11;  asst.-dir.  of  music, 
same  place,  1910-11;  dir.  Schubert  Club, 
Seattle,  1909-11;  now  dir.  of  music  at  College 
of  Idaho. — Works:  Dance-Caprice  for  orch. 
(1910);  Psalm  XXIV  for  chorus,  organ,  pf., 
trumpets  and  cymbals;  The  Magic  Wheel, 
an  operetta;  several  anthems;  songs. 

Beale,  William,  b.  Landrake,  Cornwall, 
Jan.    1,    1784;   d.    London,    May   3,    1854. 


57 


BEATON— BECK 


Famous  glee-  and  madrigal-composer;  pupil 
of  Dr.  Arnold  and  R.  Cooke;  from  1813-54, 
music-teacher  in  London. — Collection  of  3-, 
4-,  and  5-part  Madrigals  (1815);  of  Glees  and 
Madrigals  (1820);  prize  madrigal  Awake, 
sweet  Muse  (1813);  and  many  other  detached 
numbers. 

Beaton,  Isabelle,  concert  pianist,  comp.; 
b.  Grinnell,  Iowa,  May  20,  1870.  Studied  at 
Iowa  Cons.  (1890);  pf.  in  Berlin  with  Frl. 
Emma  Koch  (1893-4);  with  Moritz  Mosz- 
kowski  (1894-99);  comp.  with  O.  B.  Boise 
(1894-7);  history  of  music  at  the  Univ.  of 
Berlin  with  Prof.  Bellermann  and  Dr.  Max 
Fricdlandcr  (1897);  received  teacher's  certi- 
ficate from  'Ziska  School  of  Opera  and 
Oratorio,'  Paris,  1898;  studied  vln.  with 
Prof.  Berthelier,  Paris,  1899;  graduated  from 
Coll.  for  Women,  Western  Reserve  Univ. 
(1902);  graduate  student  (1902-7),  special 
work  in  sound.  Instr.  of  pf.  in  Iowa  Coll. 
(1892-3);  taught  pf.  in  Berlin  (1893-7); 
taught  pf.,  history,  and  comp.  at  Cleveland 
Sch.  of  Music  (1899-1910);  established  the 
Beaton  School  of  Music.  Debut  as  pianist, 
1882.  Played  before  Spanish,  English  and 
Austrian  Royal  families;  since  1910  has  given 
every  year  20  recitals  in  Cleveland. — Works: 
String-quartet  in  A  m.;  Scherzo  for  orch.;  10 
Fugues  f .  pf . ;  sonata  in  G  f .  pf . ;  Romanza  for 
vln . ,  pf .  and  org. ;  Norwegian  Dances;  songs ;  etc. 

Beauchamps  [boh-shahn'J,  Pierre-Fran- 
cois-Godard  de,  b.  Paris,  1689;  d.  there 
1761.  Wrote  Recherches  sur  les  thedtres  de 
France ,  depuis  1161  jusqu'd  present  (3  vols., 
Paris,  1735);  and  Bibliotheque  des  thedtres 
(1746),^  describing  the  operas  and  other 
stage-pieces  which  had  been  produced,  with 
notes  on  the  authors,  musicians,  and  actors. 

Beaulieu  [boh-l'yo'],  (properly  Martin 
[-tan']),  Marie-Desire,  French  composer  and 
author;  b.  Paris,  April  11,  1791;  d.  Niort, 
Dec.,  1863.  Promoter  of  the  grand  'Asso- 
ciation musicale  de  l'Ouest,'  to  which  he  be- 
queathed 100,000  francs;  founder  of  the 
Paris  society  for  classical  music.  Voluminous 
comp.:  Operas  Anacreon,  Philadelphie;  lyric 
scenes  Jeanne  d'Arc,  Psyclie  el  V Amour;  ora- 
torios VHymne  du  matin,  VHymne  de  la  nuit, 
V  Immortalite  de  I'dme;  masses,  hymns,  songs, 
pieces  for  orch.,  vln. -fantasias,  etc.  He  also 
wrote:  Du  Rhythme,  des  effets  qu'il  produit  et 
de  leurs  causes  (1852);  Memoire  sur  ce  qui 
reste  de  la  musique  de  Vancienne  Grlce  dans 
les  premiers  chants  de  I'Uglise;  Memoire  sur  le 
carac&re  que  doit  avoir  la  musique  de  VJ&glise 
.  .  .  (1858);  Memoire  sur  quelques  airs 
nationaux  qui  sont  dans  la  tonalite  gregorienne 
(1858);  Memoire  sur  Vorigine  de  la  musique 
(1859). 

Beauquier   [boh-k'ya'],  Charles,   French 
writer,  b.  c.  1830.'   Wrote:  Philosophic  de  la 


58 


musique  (1865),  La  musique  et  le  drame 
(1884),  Les  Musiciens  Franc-Comtois  (1887), 
Chansons  populaires  recueUlies  en  Franche- 
Comte  (1894),  and  the  libretto  of  Lalo's 
Fiesque.  Long  a  contributor  to  the  'Revue 
et  Gazette  Musicale.' 

Beazley,  James  Charles,  b.  1850  at 
Ryde,  Isle  of  Wight,  where  he  is  living  as  a 
teacher  and  composer.  Pupil  at  the  R.  A. 
M.  of  H.  C.  Banister,  Steggall,  Bennett,  and 
Jewson.— Works:  Cantatas  Drusildat  Josiah, 
The  Red  Dwarf,  The  Golden  Flitch;  songs  and 
part-songs;  pieces  for  vln.  and  pf.  (Elegy,  3 
Sonatas,  6  Sketches,  6  Bagatelles,  6  Minia- 
tures, etc.);  pf. -pieces,  and  35  suites  for  pf.; 
other  mstrl.  music;  also  Aids  to  the  Violinist: 
A  Short  Treatise  in  Reference  to  Bow-marks, 

Bech'er,  Alfred  Julius,  b.  Manchester, 
England,  April  27,  1803;  d.  Vienna,  Nov.  23, 
1848.  Studied  at  Heidelberg,  Berlin,  etc.; 
1840,  teacher  of  harmony  at  R.  A.  M.,  Lon- 
don, but  removed  to  Vienna,  where  he  edited 
the  revolutionary  paper,  'Dcr  Radikale,'  and 
where  he  was  shot,  after  trial  by  court- 
martial,  for  sedition. — Works:  A  symphony; 
string-quartets;  pf.-pieces;  and  songs  (many 
printed);  miscellaneous  writings;  and  2  pam- 
phlets: Das  niederrheinische  Musikfest,  as- 
thetisch  u.  historisch  belrachtet  (1836),  and 
Jenny  Lind:  eine  Skizze  ihres  Lebens  (Vienna, 
1846;  2nd  augm.  ed.  1847). 

Bech'er,  Joseph,  b.  Neukirchen,  Bavaria, 
Aug.  1,  1821;  d.  Mintraching,  Sept.  23,  1888. 
as  pastor.  Composer  of  over  60  masses,  and 
much  other  sacred  music. 

Bech'gaard,  Julius,  composer,  b.  Copen- 
hagen, Dec.  19,  1843;  pupil  of  Leipzig  Cons., 
and  of  Gade  at  Copenhagen;  has  lived  in 
Germany,  Italy,  and  Paris,  and  is  now 
settled  at  Copenhagen. — Works:  3-act  opera 
Frode  (Prague, '94),  3-act  opera  Frau  Inge 
(Prague,  '94);  concert -overture  for  orch.;  2 
'cycles'  for  baritone  solo  with  pf.;  pf.-pieces, 
4- part  songs,  songs,  etc. 

Bech'stein,  (Friedrich  Wilhelm)  Karl, 

pianoforte- maker;  b.  Gotha,  June  1,  1826;  d. 
Berlin,  March  6,  1900.  Worked  in  German 
factories,  also  with  Pape  and  Krii^elstein,  in 
London;  set  up  for  himself  in  Berlin  in  1856. 
This  factory  is  now  one  of  the  largest  and 
best-known  on  the  Continent,  employing  over 
800  workmen,  and  turning  out  more  than 
4,000  pianos  yearly  (in  1910). 

Beck,  David,  organ-builder  at  Halber- 
stadt,  Germany,  c.  1590.  The  organs  at 
Griiningen  (1592-6),  and  in  St.  Martin's  Ch., 
Halberstadt,  are  his  work. 

Beck,  Franz,  b.  Mannheim,  1730;  d.  Bor- 
deaux, Dec.  31,  1809.  Violinist,  and  a 
favorite  of  the  Prince  Palatine;  a  fatal  duel 
caused  his  flight  to  Paris,  whence  he  went  to 


BECK— BECKER 


Bordeaux  in  1777,  and  became  concert- 
director  in  1780. — Works:  24  symphonies; 
vln.-quartets;  pf. -sonatas;  church-music;  and 
the  operas  La  belle  jardiniere  (Bordeaux, 
1767);  Pandora  (Paris,  1789);  VlU  deserte. 

Beck,  Gottfried  Joseph,  b.  Podiebrad, 
Bohemia,  Nov.  15,  1723;  d.  Prague,  April  8, 
1787;  organist,  Dominican  friar  (later  Pro- 
vincial), and  prof,  of  philosophy  at  Prague. 
Wrote  church-music  and  instr.  compositions. 

Beck,  Johann  Baptist,  b.  Gebweiler, 
Alsatia,  Aug.  14,  1881;  organist  (pupil  of 
Brumpt),  student  of  romance  tongues,  Dr. 
fhU.  (Strassburg,  1907),  his  thesis  being  the 
introduction  to  a  more  extended  work  Die 
Melodien  der  Troubadours  (Strassburg,  1908), 
a  complete  edition  compiled  from  all  extant 
MSS.t  with  an  investigation  of  the  develop- 
ment of  notation,  etc.,  and  the  melodies  of 
the  Troubadours  and  Trouveres  given  in 
modern  notation.  This  was  followed  by  a 
more  popular  book  on  La  musique  des  Trou- 
badours; etude  critique,  UlustrSe  de  douze  re- 
productions hors  texte  (Paris,  1910).  Other 
volumes  in  preparation  promise  a  complete 
facsimile  edition  of  the  Troubadour  melodies 
and  a  complete  edition  of  the  melodies  of  the 
Trouveres.  An  essay,  Der  Takt  in  den  Musik- 
aufzeichnungen  des  XII.  u.  XIII.  Jahrh.,  ap- 
peared in  the  'Riemann  Festschrift'  (1909). 

Beck,  Johann  Heinrich,  b.  Cleveland, 
Ohio,  Sept.  12,  1856.  Pupil  at  Leipzig  Cons. 
(1879-82)  of  Reinecke,  Jadassohn,  A.  Richtcr 
(theory),  O.  Paul  (hist,  of  mus.),  Hermann, 
Schradieck  (vl.) ;  returned  to  Cleveland  and 
founded  'Schubert  String  Quartet';  since  1895 
cond.  of  'Detroit  Symph.  Orch.',  and  since 
1899  also  of  Cleveland  Symph.  Orch. ;  also  dir. 
Pilgrim  Orch.  Club  (1904-10)  and  Elyria 
Orch.  (1905-7);  examiner  for  vl.,  Am.  Coll. 
of  Musicians. — Works:  String-quartet  in 
C  m.;  string-sextet  in  D  m.;  Deuialion,  can- 
tata for  s.,  ch.  and  orch.;  overture  to  Byron's 
Lara;  2  pieces  for  orch.,  Fret's  Sehnsucht  and 
Der  Freude  Kuss;  Symphonic  Scherzo  in  A; 
Scherzo  in  F;  Maurisches  Stdndchen  f.  orch.; 
Meeresabend  for  sop.  with  orch.;  Wie  schon 
bist  du  for  tenor  with  orch.;  Aus  meinem 
Lebent  tone-poem  for  orch. 

Beck,  Johann  Nepomuk,  b.  Pest,  May 
5,  1828;  d.  Presburg,  April  9,  1904.  Dram- 
atic baritone,  and  fine  actor  of  great  versa- 
tility; voice  'discovered*  at  Pest,  where  he 
first  sang;  d6but  at  Vienna  procured  eng.  at 
Frankfort;  he  also  sang  in  Hamburg,  Bremen, 
Cologne,  Dusseldorf,  Mayence,  Wurzburg; 
revisited  Vienna,  1853,  and  sang  in  Court 
Opera  till  retirement  on  pension  (1885).  He 
died  insane.— Roles:  Tell,  Don  Giovanni, 
Alfonso,  Hans  Sachs,  Alberich,  etc. 

Beck,  Karl,  the  'creator'  of  the  rdle  of 


Lohengrin    at    Weimar,    August    28,    1850; 
b.  1814;  d.  Vienna,  March  3,  1879. 

Beck'er,  Albert  (Ernst  Anton),  highly 
gifted  composer;  b.  Quedlinburg,  June  13, 
1834;  d.  Berlin,  Jan.  10,  1899.  Studied  at 
Quedlinburg  under  Bonicke,  and  at  Berlin 
under  Dehn  (1853-6);  1881,  teacher  of  comp. 
at  Scharwenka's  Cons.;  also  cond.  of  Berlin 
cathedral  choir.  His  symphony  in  G  min.,  a 
grand  mass  in  B!>  m.  (1878),  and  the  oratorio 
Selig  aus  Gnade  (op.  61),  have  attracted  gen- 
eral notice;  other  works  of  importance  are 
Op.  4,  songs;  op.  13,  5  songs  from  Wolff's 
Rattenf anger;  op.  14,  5  songs  from  Wolff's 
Wilder  J  tiger;  op.  15,  songs;  op.  32,  No.  1, 
147th  Psalm  for  double  ch.  a  cappella;  op.  47, 
Ballade,  A  min.,  and  Scherzo,  B  min.,  for 
pf.;  op.  48,  5  songs;  op.  49,  pf. -quintet;  op. 
50,  Cantata  for  soli,  ch.  and  orch.;  op.  51, 
Sacred  songs,  with  pf.-accomp.;  op.  52, 
Fantasy  and  fugue  for  organ;  op.  66,  Con- 
ccrtstiick  for  vln.  and  orch.;  op.  70,  Adagio 
in  E,  for  vln.  and  orch.;  op.  73,  Cantata 
Herr,  wie  lanqe,  for  soli,  ch.,  orch.  and  org.; 
op.  81,  Adagio  for  'cello  and  org.;  op.  85, 
Psalm  104,  for  mixed  ch.  and  orch.;  op.  86, 
Adagio  (No.  6)  in  A  min.,  for  vln.  and  orch.; 
opera  Loreley  (1898). 

Beck'er,  Georg,  b.  Frankenthal,  Palatin- 
ate, June  24,  1834;  pianist,  composer  and 
writer;  a  pupil  of  Kuhn  and  Prudent.  He 
resides  at  Geneva,  and  has  published  La 
Musique  en  Suisse  (1874);  Aperqu  sur  la  chan- 
son franqaise  [from  the  llth-17th  century]; 
Pygmalion  de  J.-J.  Rousseau;  Les  projets  de 
notation  musicale  du  XIXC  siede;  La  Mu- 
sique a  Genbve  depuis  50  arts;  Eustorg  de 
Beaulieu;  Guillaume  de  Gueroult;  Notice  sur 
Claude  Goudimel;  Jean  Caulery  el  ses  chansons 
spirituelles;  H.  Waelrant  et  ses  psaumes  (1881) ; 
De  V  instrumentation  du  XV"  au  X  VII*  Steele 
(1884).  Edited  the  'Questionnaire  de  1' As- 
sociation internationale  des  Musiciens-ficri- 
vains';  contributor  to  the  'Monatshefte  fur 
Musikgeschichte,'  etc.  Has  published  pf.- 
pieces  and  songs. 

Beck'er,  Hugo,  famous  'cellist;  b.  Strass- 
burg, Feb.  13,  1864.  Pupil  of  his  father, 
Jean  B.  (q.  v.),  of  K.  Kiindiger,  and  later 
(at  Dresden)  of  GrCitzmacher  and  Hess;  also 
of  Piatti  and  Jules  de  Swert.  On  his  father's 
death  he  became  'cellist  in  the  opera  orch. 
at  Frankfurt  (1884-6);  1890-1906  member  of 
the  Heermann  Quartet ;  teacher  at  the  Hoch 
Cons.  Succeeded  Piatti  (1901)  as  'cellist  of 
the  London  Monday  Concerts;  since  1910 
principal  instr.  of  'cello  at  the  Kgl.  Hoch- 
schule  in  Berlin.  In  1902  he  was  elected 
member  of  the  Stockholm  Academy.  He  is 
not  only  one  of  the  greatest  solo  performers, 
but  equally  remarkable  as  an  ensemble- 
player.     In  recent  years  he  has  frequently 


59 


BECKER— BECQUlfi 


appeared  with  Ysaye  and  Busoni  in  trio 
performances. — Works:  Op.  10,  'cello-con- 
certo in  A;  variations  and  pieces  for  'cello. 

Beck'er,  Jean,  distinguished  violinist;  b. 
Mannheim,  May  11,  1833;  d.  there  Oct.  10, 
1884.  Pupil  of  Kettenus,  and  Vincenz  Lach- 
ncr;  leader  in  Mannheim  orch.,  but  resigned 
in  1858,  and,  after  brilliant  concert-tours, 
settled  (1866)  in  Florence,  and  established  the 
renowned  'Florentine  Quartet'  (2nd  vln., 
Masi;  viola,  Chiostri;  'cello,  Hilpert,  replaced 
1875  by  Spitzer-Hegyesi),  dissolved  in  1880. 
After  tnis  he  made  successful  tours  with  his 
children:  (1)  his  daughter  Jeanne  (b.  Mann- 
heim, June  9,  1859;  d.  there  April  6,  1893) 
was  a  gifted  pianist,  pupil  of  Reinecke  and 
Bargiel;  (2)  Hans  (b.  Strassburg,  May  12, 
I860),  fine  viola-player,  pupil  of  Singer; 
violin-teacher  in  Leipzig  Cons.;  (3)  Hugo 
(q.  v.). 

Beck'er,  Karl,  b.  Kirrweiler,  near  Trier, 
June  5,  1853;  1881,  music-teacher  at  Ott- 
wciler  Seminary;  1885  ditto  at  Neuwied; 
since  1896  Kgl.  Musikdirektor  at  Kdpenick. 
Has  published  the  'Rheinischer  Volkslieder- 
born'  (1892);  also  school  song-books. 

Beck'er,  Karl  Ferdinand,  b.  Leipzig, 
July  17,  1804;  d.  there  Oct.  26,  1877.  Org. 
at  St.  Peter's,  Leipzig  (1825),  of  St.  Nicholas' 
(1837);  organ-teacher  at  Cons.  (1843);  re- 
tired 1856.  He  revised  Forkel's  Systematisch- 
chronologische  Darsiellung  d.  MusiklitUratur 
(1836;  Suppl.,  1839);  and  wrote  Die  Haus- 
musik  in  Deutschland  im  16.,  17.  u.  18.  Jahrh. 
(1840),  Die  Tonwerke  des  16.  u.  17.  Jahrh., 
etc.  Publ.  pieces  for  pf.  and  organ;  also  a 
chorale  book.  He  gave  his  library,  contain- 
ing valuable  theoretical  works,  to  the  city 
of  Leipzig  ('Beckers  Stiftung'). 

Beck'er,  Konstantln  Julius,  b.  Freiberg, 
Saxony,  Feb.  3,  1811;  d.  Oberldssnitz,  Feb. 
26,  1859.  Pupil  of  Anacker  (singing)  and  of 
Karl  Ferd.  Becker  (comp.).  1837-46,  editor 
of  the  'Neue  Zeitschrift  I.  Musik';  1843-6, 
teacher  in  Dresden;  also  a  writer  of  novels 
treating  contemporary  musical  topics. — 
Works:  Opera  Die  Erstiirmung  von  Belgrad 
(Leipzig,  1848);  1  symphony;  a  rhapsody, 
Das  Zigeunerleben;  duets,  songs,  etc.;  a 
Manner  gesangschule  (1845),  a  Harmonielehre 
fur  Dilettanten  (1842),  and  a  Kleine  Harmonie- 
lehre (1844);  also  transl.  Berlioz's  Voyage 
musical  (1843). 

Becker,  Reinhold,  b.  Adorf,  Aug.  11, 
1842;  originally  a  violinist,  but  on  account  of 
a  muscular  affection  was  compelled  in  1870 
to  give  up  his  instrument;  since  then  living 
in  Dresden  as  a  composer;  1884-94  conductor 
of  the  Dresdner  'Liedertafel,'  for  which  he 
wrote  numerous  choruses  which  have  won 
wide    popularity. — Works:    The    successful 


operas  Frauenlob  (Dresden,  1892;  3  acts) 
and  Ratbold  (Mayence,  1896;  1  act);  the 
symphonic  poem  Der  Prinz  von  Homburg; 
symphony  in  C  (op.  140);  works  for  male 
en.  {Waldmorgen,  with  orch.;  Abendglocken, 
Mahnruf,  etc.);  2  violin-concertos;  songs. 

Beck'er,  Rene  Louis,  organist  and  com- 

goser,  b.  Bischheim,  Alsatia,  Nov.  7,  1882. 
tudied  at  Municipal  Cons,  in  Strassburg 
(1896);  pf.  with  Prof.  Ernest  Muench  (1896- 
97),  Fritz  Blumcr  (1899-1904);  harm,  with 
Carl  Somborn  (1897-1904);  organ  w.  Adolf 
Gessner  (1899-1904).  Teacher  of  pf.  at  St. 
Louis  Univ.  (1905-10);  of  Gregorian  Chant 
at  Kenrick  Seminary  (1906-8  and  1910-11); 
organist  Ital.  R.  C.  Ch.,  St.  Louis  (1908-11); 
St.  Peter's  Cath.,  Belleville,  111.  (1912-15). 
At  present  org.  at  St.  Peter  and  St.  Paul's 
Cath.,  Alton. — Works:  4  sonatas  for  organ; 
a  Mass  in  Honor  of  St.  Barbara;  pieces  for 
pf.;  do.  for  org.;  3  Offertories  for  mixed 
voices;  etc. 

Beck'er,  Valentin  Eduard,  b.  WUrzburg, 
Nov.  20,  1814;  d.  Vienna,  Jan.  25,  1890. 
Composer  of  popular  male  choruses;  2 
operas,  Die  Bergknappen  and  Der  Deserteur; 
masses;  a  quintet  for  clar.  and  strings;  and 
other  instrumental  music. 

Beck'mann,  Johann  Friedrich  Gottlieb, 

b.  1737;  d.  April  25,  1792,  at  Celle,  where  he 
was  organist  and  pianist  (harpsichordist). 
One  of  the  finest  players  and  improvisers  of 
the  time. — Works:  12  pf. -sonatas,  6  con- 
certos, and  solo  pieces;  also  an  opera,  Lukas 
und  Hannchen  (Hamburg,  1782). 

Beck  with,  John  Christmas,  distinguished 
organist,  b.  Norwich,  Engl.,  Dec.  25,  1750; 
d.  there  June  3,  1809.  A  pupil  of  Philip 
Hayes,  he  became  org.  of  Norwich  cathedral 
(succeeding  Garland),  and  of  St.  Peter's, 
Mancroft.  In  1803,  Mus.  Bac.  and  Mus. 
Doc.,  Oxon. — Works:  The  First  Verse  of 
Every  Psalm  of  David,  with  an  Ancient  or 
Modern  Chant  in  Score,  adapted  as  much  as 
possible  to  the  Sentiment  of  each  Psalm  (Lon- 
don, 1808,  with  a  valuable  preface,  A  short 
history  of  chanting).  Also  publ.  anthems; 
glees;  songs;  pf. -pieces;  and  concertos,  etc., 
tor  organ. 

Becquie  [beck-ya'J,  A.,  b.  Toulouse,  circa 
1800;  d.  Paris,  *Nov.  10,  1825,,  as  1st  flute  at 
the  Opera-Comique.  Pupil  of  Tulou  and 
Guillou  at  Paris  Cons.  A  valued  comp. — 
Works:  Grande  fantaisie  et  variations,  for 
flute  with  orch.;  Les  Regrets,  for  flute  and 
pf.;  fantasias,  rondos,  airs,  etc.,  for  flute. 

Becquig   ('de    Peyreville'),  Jean-Marie, 

brother  of  above,  b.  Toulouse,  1797;  d.  Paris, 
Jan.,  1876.  Eminent  violinist,  pupil  of  R. 
and  A.  Kreutzer  at  Paris  Cons.,  and  long  a 


60 


BECVAROVSKY— BEER 


member  of  the  Theatre  Italien  orch. — Works: 
Faniaisie  for  vln.  and  pf.;  Air  variS  for  vln.f 
via.  and  bass;  ditto,  with  quartet;  etc. 

Becvarov'sky  [betch-var-shdnv'sks],  Anton 
Felix,  b.  Jungbunzlau,  Bohemia,  April  9, 
1754;  d.  Berlin,  May  15,  1823.  Organist  at 
Prague  and  (1779—96)  Brunswick;  lived  in 
Bamberg  till  1800,  thereafter  at  Berlin.— 
Works:  3  pf. -concertos,  3  pf. -sonatas,  and 
many  songs  for  solo  voice  with  pf. — See 
Q.-Lex. 

B&dard  [ba-dahr'l,  Jean -Bap tiste,  a  harp 
and  violin  virtuoso;  b.  Rennes,  Bretagne,  c. 
1765;  d.  Paris,  c.  1815;  lived  in  Paris  from 
1796.  Wrote  2  symphs.,  5  sonatas  for  harp 
(with  yl.  ad  lib.),  trios,  duos  for  harp  with 
other  instrs.,  solos  for  harp;  also  studies  for 
harp,  vl.  and  guitar. 

Bedford,  Herbert,  b.  London,  1867. 
Although  a  painter,  his  #  mus.  comps.  are 
worthy  of  serious  attention;  had  excellent 
training  at  the  Guildhall  School  of  Music;  in 
1894  he  married  Liza  Lehmann. — Works: 
The  Optimist,  a  symph.;  Love-scene  from 
Romeo  and  Juliet;  Nocturne  for  alto  w.  orch.; 
Sowing  the  Wind,  symph.  poem;  Over  the  Hills 
and  far  away,  symph.  interlude;  Queen  Mat, 
suite  for  orch.;  Ode  to  Music  (Shelley),  and 
other  songs.    An  opera,  Kit  Marlowe,  is  MS. 

Bedford,  Mrs.  Herbert.  See  Lehmann, 
Liza. 

Bedos  de  Celles  [bu-doh'  du  sel],  Dom 
Francois,  Benedictine  monk  at  Toulouse, 
b.  Caux,  near  Bezieres,  1706;  d.  St.-Maur, 
Nov.  25,  1779.  Wrote  Vart  du  facteur 
d'orgues  (3  vols.,  Paris,  1766-78),  a  valuable 
work  on  which  many  later  treatises  are 
based;  a  fourth  part,  containing  historical 
notes  on  the  organ,  has  appeared  in  German 
(1793).  Also  an  account  of  the  new  organ 
at  St. -Martin  de  Tours  ('Mercure  de  France' 
for  Jan.,  1762;  German  transl.  in  Adelung's 
'Musica  mechanica  organoedi'). 

Beecham,  Sir  Thomas,  b.  n.  Liverpool, 
April  29,  1879.  While  a  student  at  Rossali 
School  he  had  some  lessons  in  comp.  from 
Dr.  Sweeting,  and  later,  at  Oxford  Univ., 
from  Dr.  V.  Roberts.  In  1899  he  founded, 
chiefly  for  his  own  pleasure,  an  amateur 
orch.  at  Huyton;  in  1902  he  was  cond.  of  K. 
Truman's  travelling  opera  company,  gaining 
valuable  practical  experience;  at  the  conclu- 
sion of  the  tour  he  devoted  an  entire  year  to 
further  serious  study.  In  1905  he  gave  his 
first  symph.  concert  in  London  with  the 
Queen's  Hall  Orch.;  the  next  year  he  estab. 
the  New  Symph.  Orch.,  which  he  conducted 
till  1908,  when  he  resigned  and  formed  the 
Beecham  Symph.  Orch.  By  this  time  his 
reputation  as  a  forceful  and  magnetic  cond. 


61 


was  securely  established.  In  1910  he  ap- 
peared in  a  new  rdle,  that  of  operatic  impre- 
sario. With  a  company  of  splendid  artists, 
his  own  well- trained  orch.,  and  himself  as 
conductor,  he  gave  a  season  of  grand  opera 
during  Feb.  and  March  (22  perfs.)  that 
created  a  sensation,  not  so  much  because  of 
the  excellence  of  the  ensemble,  but  because 
of  the  variety  of  the  repertoire;  not  less  than 
three  novelties  were  produced:  R.  Strauss' 
Elektra,  Delius'  Romeo  and  Juliet  in  the 
Village,  E.  Smythe's  The  Wreckers — besides 
a  revival  of  Sullivan's  Ivanhoe.  The  success 
of  this  new  venture  was  so  pronounced,  that 
in  May  and  June  of  the  same  year  B.  gave  a 
season  of  'ope'ra  comique'  in  English,  when 
Strauss'  Feuersnot  and  Stanford's  Shamus 
O'Brien  had  their  first  performance  in  Engl. 
Before  the  year  was  out  a .  third  season,  be- 
ginning in  October,  was  given,  in  which  the 
novelties  were  d' Albert's  Tiefland,  Leroux's 
Le  Chemineau,  and  Strauss'  Salome.  In  1913 
he  gave  a  season  devoted  chiefly  to  Wagner; 
the  important  novelties  were  Strauss'  Der 
Rosenkavalier  and  Ariadne  auf  Naxos;  the 
season  of  1914  brought  forth  Strauss'  Josef- 
legende,  Rimsky-Korsakov's  Le  Coq  d'Or  and 
Holbrooke's  Dylan;  the  season  of  1915  was 
devoted  entirely  to  opera  in  English,  and  in 
deference  to  popular  demand  had  to  be  ex- 
tended by  six  weeks,  lasting  into  1916; 
novelties,  Liza  Lehmann's  Everyman  and 
Stanford's  The  Critic.— \n  1915  B.  was 
elected  conductor  of  the  London  Philh.  Soc.; 
on  Jan.  1,  1916,  he  was  knighted. — Cf.  *M. 
T.\  Oct.,  1910. 

Bee'cke,  Ignaz  von,  b.  Wimpfen,  Oct.  28, 
1733;  d.  Wallerstein,  Jan.  2,  1S03.  Captain 
of  dragoons,  ^  later  'Musikintendant'  to  the 
Prince  of  Otting- Wallerstein.  Highly  accom- 
plished harpsichordist,  a  friend  of  Jommelli, 
Gluck  and  Mozart.  Wrote  7  operas;  an  ora- 
torio, Die  Auferstehung  Jesu;  a  cantata, 
symphonies,  quartets,  4  harpsichord-trios,  6 
harpsichord-sonatas,  many  songs,  etc. — Cf. 
L.  Schiedermair  in  'Sbd.  Int.  M.-G.',  ix,  p.  107. 

Beellaerts,  Jean.  See  Bell&re. 

Beer  [bar],  Jacob  Liebmann.  Original 
name  of  Giacomo  Meyerbeer. 

Beer,  Josef,  b.  Griinwald,  Bohemia,  May 
18,  1744;  d.  Potsdam,  1811,  as  Royal  Prussian 
chamber-musician.  Skilful  clarinettist,  who 
invented  the  improvement  of  a  fifth  key,  and 
wrote  concertos,  duets,  variations,  etc.,  f.  clar. 

Beer,  Jules,  Meyerbeer's  nephew  (son  of 
Michael  Beer,  1800-33),  b.  c.  1833,  lived  in 
Paris  as  an  amateur  dramatic  composer  (5 
comic  operas,  and  other  works). 

Beer,  Max  Josef,  b.  Vienna,  Aug.  25, 
1851;  d.  there  Nov.  25,  1908.  Pupil  of 
Dessoff;  pianist  and  composer.— Works:  The 


BEER— BEETHOVEN 


operas  Otto  der  Schuit  and  Der  Pfeiferkonig 
(both  not  perf.),  Friedel  mit  der  leeren  Tasche 
(Prague,  1892),  Der  Streik  der  Schmiede  (1 
act,  Augsburg,  1897;  succ);  operetta  Das 
Stelldichein  auf  der  Pfahlbriicke;  cantata  Der 
wilde  Jdger,  for  soli,  ch.  and  orch.;  several 
lyrical  pf! -pieces  (Abendfeier,  Eichendor.ffianat 
Haidebtlder,  Spielmannsweisen,  Was  sich  der 
Wold  ertdhlt,  etc.);  a  pf. -suite;  various  books 
of  songs,  etc. 

Beer-Walbrunn,  Anton,  b.  Kohlberg, 
Bavaria,  June  29,  1864.  Pupil  of  Rhein- 
berger,  Bussmeyer  and  Abel  at  the  Akademie 
der  Tonkunst  in  Munich;  since  1901  in- 
structor there  of  pf.  and  comp.;  made  Prof, 
in  1908. — Works:  The  operas  Siihne  (Lu- 
beck,  1894),  Don  Quixote  (Munich,  1908), 
Das  Ungeheuer  (fin.  1916,  not  yet  prod.); 
op.  1,  choruses  for  mixed  voices;  op.  3,  a 
fantasy  for  vl.;  op.  8,  pf.-quartet;  op.  12,  13, 
songs;  op.  14,  string-quartet;  op.  15,  sonata 
for  cello  and  pf.;  op.  20,  Ode  tor  'cello  and 
pf.;  op.  21,  Reisebilder  for  pf.;  op.  22j  Deutsche 
Suite  for  orch.  (also  arr.  for  pf.  4  hands);  op. 
27,  songs;  op.  30,  sonata  for  pf.  and  vl.;  op. 
31,  Der  Polenfliichtling  for  bar.  with  orch.; 
op.  32,  sonata  for  organ;  op.  35,  48,  choruses 
for  male  and  mixed  voices;  op.  36,  symphony 
in  E;  op.  40,  Burlesken  for  orch.;  op.  43, 
incidental  music  to  Hamlet;  also  a  choral 
work  with  orch.,  Mahomet s  Gesang;  10  son- 
nets of  Shakespeare  for  1  voice  and  pf.;  etc. 
—Interesting  monograph  by  O.  G.  Sonncck 
in  his  "Suurn  cuique:  Essays  in  Music" 
(Schirmer;  N.  Y.,  1916). 

Beeth  [bat],  Lola,  b.  Cracow,  1864; 
dramatic  soprano,  pupil  of  Frau  Dust  man  n, 
and  later  of  Mme.  Viardot-Garcia  and  De- 
siree  Art6t.  Debut  1882  at  Berlin  Court 
Opera  as  Elsa  (Lohengrin);  eng.  there  1882— 
88;  then  eng.  at  Vienna  Court  Th.  1888-95. 
Then  sanp  3  months  at  Grand  Opera,  Paris 
(Elsa,  Elisabeth,  etc.);  later  at  New  York, 
Monte  Carlo  and  Pest;  again  at  Vienna 
1897-1902;  since  then  only  as  star.  Living 
now  as  'Kgl.  Kammersangerin,  at  Berlin. 

Beet'hoven  [bat'hoh-ven],  Ludwig  van, 
the  composer  who  represents  the  fullest  ma- 
turity (in  emotional  scope,  in  formal  con- 
struction, and  in  instrumental  treatment)  of 
the  allied  classic  forms  of  the  pf. -sonata,  pf.- 
concerto,  string-quartet,  and  orchestral  sym- 
phony, was  born  at  Bonn-on- Rhine,  Dec.  16 
(baptized  Dec.  17),  1770  [Beethoven  himself 
sakl  Dec.  16,  1772);  he  died  in  Vienna,  March 
26,  1827.  His  grandfather,  Ludwig  van  B.,  a 
native  of  Maestricht,  was  bass  singer,  opera- 
composer,  and  KapeUm.  at  Bonn  to  the 
Elector  Clemens  August.  B.'s  father,  Johann 
van  B.,  was  a  tenor  singer  in  the  Electoral 
choir,  and  married  Maria  Magdalena  Laym 
{nee  Keverich),  the  widow  of  the  chief  cook 


62 


at  Ehrenbreitstein;  Ludwig  was  the  second 
child  born  to  them. — B.  attended  the  public 
schools  at  Bonn  till  his  14th  year.  His 
musical  education  was  taken  in  hand  in  his 
fourth  year  by  his  father,  a  strict  and  stern 
master,  who  taught  him  till  1779.  At  eight 
he  played  the  violin  well;  at  eleven  he  could 
play  Bach's  'Wohltemperirtes  Clavbr'  flu- 
ently and  skilfully.  His  next  instructors  wer » 
Pfeiffcr,  a  music-director  and  oboist;  Van  den 
Ecden,  the  court  organist;  and  the  latter's 
successor,  Neefe.  He  was  already  a  notable 
improviser  on  the  piano;  and  in  1781  ('82?) 
appeared  his  first  published  composition,  3 
pf. -sonatas.  In  1782,  during  Neefe's  absence, 
B.  was  formally  installed  as  his  deputy  at  the 
organ;  in  1783,  he  was  app.  cembalist  for  the 
rehearsals  of  the  opera-orch. — for  the  present, 
to  be  sure,  without  emolument.  In  1784  the 
new  Elector,  Max  Franz,  app.  B.  asst. -organ- 
ist at  a  salary  of  150  florins  (about  $63);  this 
place  he  held  till  1792;  from  1788  he  also 
played  2nd  viola  in  the  orch.  of  the  theatre 
and  church,  Reicha  being  the  conductor.  On 
a  visit  of  a  few  months  to  Vienna,  in  1787, 
B.  awakened  great  interest  by  his  extraor- 
dinary ability  as  an  extempore  pianist ;  elicit- 
ing from  Mozart  the  exclamation:  'He  will 
give  the  world  something  worth  listening  to.' 
In  July  his  mother  died;  his  father  gave  way 
to  intemperance,  gradually  losing  his  voice; 
and  B.'s  home-life  became  wretched.  He 
found  consolation  in  the  family  of  Frau  von 
Breuning,  the  widow  of  a  court  councillor,  to 
whose  daughter  and  youngest  son  B.  gave 
music-lessons.  In  their  refined  society  his 
taste  for  German  and  English  literature  was 
quickened.  About  this  time  he  made  the 
acquaintance  of  the  young  Count  Waldstein, 
his  life-long  friend,  admirer,  and  benefactor. 
In  his  leisure  hours  he  gave  other  lessons, 
took  lone  walks,  and  occupied  himself  with 
composition.  Despite  his  remarkable  faculty 
for  improvisation,  the  display  of  known 
works  for  the  first  ten  years  (1782-92)  is 
comparatively  meagre:  half  a  dozen  songs; 
a  rondo,  a  minuet,  and  3  preludes  f.  pf.;  3 
pf.-quartets;  a  pf.-trio;  a  string-trio,  op.  3; 
4  sets  of  pf. -variations;  a  rondino  f.  wind;  th? 
Rttter-Ballet  with  orch.  [publ.  1872|;  the 
Bagatelles,  op.  S3;  2  violin-rondos,  op.  51; 
the  Serenade  Trio,  op.  8;— to  which  add  the 
lost  cantata  praised  by  Haydn,  a  lost  trio  for 
pf.,  flute  and  bassoon,  and  an  Allegro  and 
Minuet  for  2  flutes  (all  unpubl.).  (Recent 
investigations,  however,  have  established  al- 
most with  certainty  the  fact  that  when  B. 
arrived  in  Vienna  in  1792  he  brought  with 
him  a  considerable  number  of  compositions 
in  MS.  Some  of  these  he  revised  and  publ. 
later  (e.  g.,  the  viol  in -rondos,  op.  51;  which 
accounts  for  the  high  opus-number) ;  others 
were  lost.    In  1910  Fritz  Stein  found  in  Jena 


BEETHOVEN 


the  score  and  parts  of  a  symphony  in  C, 
which  unquestionably  antedates  the  one 
known  as  the  'First  Symphony.'  It  was  publ. 
by  Breitkopf  &  Hartel  in  1911.]  In  point  of 
fact,  B.  never  possessed  the  fatal  facility  of 
invention  which  rejoices  in  rapidity  rather 
than  solidity  of  production.  His  way  of 
working  is  exhibited  in  the  'sketch-books'  of 
this  early  period,  which  contain  rough 
draughts,  as  it  were,  of  motives,  themes, 
ideas;  fragments  jotted  down  in  moods  of 
inspiration,  frequently  reappearing  in  modi- 
fied forms,  and  in  many  cases  recognizable 
as  the  germs  of  later  compositions.  This 
method  of  tentative  notation  and  careful  and 
oft-repeated  working-over,  was  his  through  life. 

The   year    1792    marks   a    turning-point. 
Haydn,  passing  through  Bonn,  warmly  praised 
a  cantata  of  B.'s  composition;  the  Elector, 
probably  influenced  by  the  master's  opinion 
and  the  representations  of  the  friendly  Wald- 
stein,  made  up  his  mind  to  S2nd  B.  to  Vienna, 
then  the  centre  of  musical  Europe.    Here,  a 
member  of  the  highest  circles  of  artists  and 
art-lovers,  to  which   his  native  genius  and 
letters  from  the  Elector  procured  speedy  ad- 
mission, B.  found  himself  in  a  most  congenial 
atmosphere.      Besides   his   salary   from   the 
Elector  (discontinued  in  1794),  and  an  an- 
nual stipend  of  600  florins  from  Prince  Lich- 
nowsky,  one  of  his  truest  friends  and  warmest 
admirers,  his  income  was  derived  from  the 
increasing  sale  of  his  works.     He  applied  to 
Haydn  for  further  instruction;  but,  dissatis- 
fied with  his  loose  methods  of  teaching,  and 
angered  at  his  lack  of  appreciation  of  compo- 
sitions submitted  to  him  for  approval,   B. 
surreptitiously  took  lessons  of  Schenk,  carry- 
ing his  exercises,  after  correction  by  Schenk, 
to  Haydn.     This  peculiar  arrangement  con- 
tinued for  a  little  more  than  a  year,  terminat- 
ing at  Haydn's  departure   (Jan.,   1794)  for 
England.     During  1794  he  had  quite  regular 
lessons  in  counterpoint  with  Albrechtsberger, 
whose  verdict :  4He  has  learned  nothing,  and 
will  never  do  anything  properly,'  can  hardly 
be  called  prophetic;  Salieri  gave  him  many 
valuable    hints  on   vocal  style;   and   Aloys 
Forster  contributed  good  counsel  on  the  art 
of  quartet -writing.     B.'s  contrapuntal  exer- 
cises  under    Albrechtsberger    (publ.    Paris, 
1832;  revised  ed.  by  Nottebohm,  in  vol.  i 
of   his   'Beethoven-Studien',  1873)  curiously 
exhibit    the-  irrepressible    conflict    between 
B.'s    imagination    and    the    dry  course   of 
study  prescribed. 

Welcome  at  ajl  soirSes  and  private  musicales 
of  the  aristocracy,  B.  did  not  play  in  public 
in  Vienna  until  Mar.  29,  1795,  when  he  per- 
formed his  C  major  pf  .-concerto  at  a  concert 
in  the  Burgthcater.  In  1796  he  visited 
Nuremberg,  Prague  and  Berlin,  and  played 
before    King    Friedrich    Wilhelm    II.      The 


publication  of  the  Eb  pf. -sonata  (op.  7)  in 
1797,  a  work  of  strongly  individual  type,  is 
noteworthy.     Two  public  concerts  given  at 
Prague  in  1798  are  chronicled  as  making  a 
profound  impression.     In  the  same  year  he 
met    two    famed    piano-virtuosi:    Steibelt, 
whose  challenge  to  B.  as  an  extemporizer  and 
composer  resulted  in  his  own  overwhelming 
discomfiture;  and  Wolffl,  a  worthier  oppo- 
nent, with  whom  B.  associated  and  made 
music  on  a  friendly  footing  (W.  inscribed  3 
sonatas  to   him).     To   1799   belong  the   3 
sonatas  for  pf.  and  violin  (op.  12),  the  Grande 
sonate  palheUque  (op.   13),  the  second  pf.- 
concerto  (in  Bb),  and  several  lesser  publica- 
tions.   With  1800  closes  what  is  called  (after 
the  generally-accepted  classification  by  W. 
von  Lenz  in  his  Beethoven  et  ses  trots  styles 
[Petrograd,  18521)   Beethoven's  'first  period' 
of  composition;  the  'second  period'  extends 
to  1815;  the  'third',  to  the  master's  decease 
in  1827 .    The  works  of  this  first  period  include 
op.  1-18  (6  pf. -trios,  4  string-trios,  the  first 
3  string-quartets,  9  pf. -sonatas  and  various 
sets  of  variations,  the  grand  aria  Ah  perfido, 
etc.).      [For  a   detailed    discussion   of   this 
point,  see  v.  Lenz,  Grove,  Thayer,  et  al.\    At 
this  time,  too  (1800-1801),  a  malady,  which 
later  resulted  in  total  deafness,   began  to 
make  alarming  progress,  and  caused  B.  acute 
mental   suffering.     From  his  entrance  into 
Viennese  society  he  was  known  as  an  'orig- 
inal'; even  his  genuine,  sturdy  independence 
and    self-sufficiency,   due   at  /bottom    to  a 
native  love  of  freedom  and  honesty,  a  detesta- 
tion of  shams,  and  just  self -appreciation,  ap- 
peared highly  eccentric  when  Contrasted  with 
the  courtier-like  subservience  tf  great  musi- 
cians like  Haydn  and  Mozart;  and  there  is  no 
doubt   that  he  purposely   exaggerated   this 
eccentricity  (he  himself  remarked  that  'it  is 
good  to  mingle  with  aristocrats,  but  one  must 
know  how  to  impress  them*).    His  genius  and 
geniality  as  an  artist,  and  his  noble  generosity, 
won  the  hearts  of  music-lovers,  and  caused 
them  to  condone  his  freaks.    With  increasing 
deafness,  however,  his  character  altered;  he 
gradually  grew  taciturn,  moros*,  and  suspi- 
cious (traits  aggravated  by  the  sordid  mean- 
ness of  his  brothers  Karl  and  johann,  who 
had  also  settled  in  Vienna),  anq  treated  his 
best  friends  outrageously.    From  about  1820, 
deafness  was  total,  or  nearly  so;  as  early  as 
1816  he  had  to  use  an  ear-trumpet.    Besides 
this,  when  his  brother  Karl  died,  in   1815, 
leaving  a  son  to  B.'s  guardianship,  the  latter 
undertook  the  boy's  bringing  up  as  a  sacred 
trust ;  the  ingratitude  of  this  graceless  scamp 
of  a  nephew  forms  one  of  the  saddest  chap- 
ters in  the  great  man's  life,  and  still  further 
darkened  his  declining  years. 

B.'s  freest  and  most  joyous  creative  period 
was  his  second.     It  was  the  period  of  the 


% 


63 


BEETHOVEN 


fullest  flow  of  ideas  (see  'sketch-books'),  not 
as  yet  overcast  by  the  gloom  of  his  keenest 
anguish. — It  should  be  noted,  that  von  Lenz's 
classification  is  not  chronological,  either  in 
dates  of  composition,  final  completion,  or 
publication;  but  is,  in  part,  a  somewhat 
arbitrary  arrangement  according  to  the 
'style'  of  the  several  works.  E.  g.,  he  classes 
the  second  symphony  (written  1802,  per- 
formed 1803,  published  1804,  as  op.  36) 
among  works  ofthe  'first  period.' — The  chief 
works  comprised  in  the  'second  period'  are 
the  six  symphonies  from  III  to  VIII  inclusive; 
his  one  opera,  Fidelio;  the  music  to  Egmont; 
the  ballet  Prometheus;  the  mass  in  C,  op.  86; 
the  oratorio  Christus  am  Oelberg  (1803);  the 
Coriolanus  overture;  the  pf. -concertos  in  G 
and  Et>;  his  violin-concerto;  the  quartets  in 
F  min.,  Eb,  and  those  inscribed  to  Razumov- 
sky;  4  pf. -trios  (op.  38;  op.  70,  Nos.  1  and  2; 
op.  97) ;  and  14  pf. -sonatas  (among  them  the 
two  quasi  fantasia,  op.  27 ;  the  pastorale,  op. 
28;  op.  31,  No.  2,  in  D  min.;  the  Waldstein, 
op.  53;  the  appassionata,  op.  57;  and  Les 
Adieux,  V absence,  et  le  retour,  op.  81);  also 
the  Liederkreis,  etc. 

The  'third  period'  includes  the  five  pf.- 
sonatas  op.  101,  106,  109,  110,  111;  also 
(ace.  to  date  publ.)  op.  102,  Nos.  1  and  2; 
the  Missa  solemnis  in  D,  op.  123;  the  Ninth 
Symphony,  op.  125;  the  Ruins  of  Athens 
overture,  op.  113,  and  march  with  chorus, 
op.  114;  the  orchestral  overtures  op.  115  and 
124;  the  grant}  fugue  for  string-quartet,  op. 
133;  and  the  great  string-quartets  op.  127 
(Eb),  op.  130  RBb),  op.  131  (C#  min.),  op. 
132  (A  min.),  and  op.  135  (F). 

Fidelio  probably  cost  B.  more  pains  and 
exasperation  than  any  other  one  work.  As 
early  as  1803  he  arranged  with  Schikaneder, 
manager  of  the  Theater  an  der  Wicn,  to 
write  an  opera;  it  was  produced  Nov.  20, 
1805,  amid  the  commotion  and  gloom  inci- 
dent to  the  entrance,  just  a  week  before,  of 
the  French  army  into  Vienna.  Originally  in 
three  acts,  it  was  withdrawn  after  three  con- 
secutive performances;  pruned,  rearranged, 
and  revised  time  and  again,  and  brought  out 
March  29,  1806,  with  better  success,  but 
withdrawn  by  the  author  after  only  two 
performances.  Once  more  sweepingly  re- 
vised, it  was  revived  in  1814,  and  was  this 
time  very  successful.  The  opera  was  at  first 
named  Leonore,  after  the  heroine;  and  its 
overture,  twice  rewritten,  forms  an  interest- 
ing study  in  evolution;  the  present  Fidelio 
overture  is  quite  different.  B.'s  sketch-book 
for  this  opera  contains  300  large  pages  of  16 
staves  each,  crammed  with  heterogeneous 
notes. — The  Eroica  symphony  (No.  3)  also 
has  a  history.  At  first  entitled  the  Sinfonia 
grande  Napoleon  Bonaparte,  in  honor  of  the 
supposed  champion  of  'liberty,  equality  and 


fraternity,'  B.  tore  up  the  dedication  in  a 
transport  of  rage  on  hearing  of  Napoleon's 
proclamation  as  emperor  (May  18,  1804); 
the  title  was  altered  to  Sinfonia  eroica  com- 
posta  per  festeggiare  il  sowenire  d'un  grand' 
uomo  [Heroic  symphony,  composed  to  cele- 
brate the  memory  of  a  great  man]. — With 
the  Ninth  Symphony  B.  touches  the  limit  of 
expression  in  symphonic  form;  the  choral 
finale,  where  orchestral  and  vocal  music  blend 
in  an  outburst  of  ecstasy  (the  words  are  from 
Schiller's 'Hymn  to  Joy*),  is  the  apotheosis  of 
musical  art.  Yet  what  said  Fetis,  the  French 
critic  and  historiographer,  to  this  finale? 
'Nevertheless,  this  melody  [the  theme  of  the 
Hymn]  which  caused  him  [B.]  these  trans- 
ports of  joy,  is  quite  vulgar;  but  he  regarded 
it  less  from  a  musical  point  of  view  than 
from  that  of  the  sentiment  which  he  wished 
to  express  [!!].  In  his  preoccupation  in  this 
respect  there  was  more  of  German  dream- 
iness than  of  aesthetic  conception.'  Such 
a  criticism  reminds  one  of  what  von  Lenz 
said  concerning  the  Parisian  conception  of 
Liszt:  'They  called  him  "Litz" — that  was 
as  far  as  they  ever  got  with  Liszt  in  Paris!' 
Up  to  1815,  B.'s  material  welfare  had  in- 
creased, though  hardly  in  proportion  to  his 
social  and  artistic  triumphs.  An  honored  and 
frequent  guest  at  the  houses  of  art-lovers  like 
the  princes  Lichnowsky,  Lobkowitz  and  Kin- 
sky,  the  counts  Moritz  Lichnowsky,  Razu- 
movsky  and  Franz  von  Brunswick,  and 
Baron  von  Gleichenstein,  his  bearing  towards 
his  hosts  was  that  of  an  equal  to  equals;  at 
the  time  of  the  Vienna  Congress,  as  a  guest 
of  Archduke  Rudolf,  he  met  the  various 
reigning  monarchs  as  their  peer,  and  even 
(as  he  said  himself)  let  them  pay  court  to 
him.  A  curious  incident  is  the  invitation 
extended  to  B.  in  1809,  by  the  de  facto  'King 
of  Westphalia,'  Ier6me  Bonaparte,  to  assume 
the  post  of  maitre  de  chapelle  at  Kassel  at 
a  salary  of  600  ducats  (about  $1,500).  There 
is  no  proof  that  B.  seriously  entertained  the 

Proposition;  he  really  wanted  to  become 
mperial  Kapellmeister  at  Vienna;  but  the 
bare  possibility  of  losing  the  great  composer 
so  dismayed  his  Viennese  admirers,  that 
Archduke  Rudolf,  and  Princes  Lobkowitz 
and  Kinsky,  settled  on  B.  an  annuity  of 
4,000  florins  (nominally  $2,000,  but  in  depre- 
ciated paper  of  fluctuating  value).  After 
1815,  his  growing  deafness,  and  the  sore 
trials  incidental  to  the  care  of  his'  nephew, 
caused  him  so  much  mental  distress  that  he 
often  thought  himself  on  the  verge  of  ruin, 
though  he  never  really  suffered  want. — In 
December,  1826,  he  caught  a  violent  cold, 
which  resulted  in  an  attack  of  pneumonia; 
dropsy  then  supervened,  and  after  several 
unsuccessful  operations  he  succumbed  to  the 
disease  on  March  26,  1827.     His  funeral  was 


64 


BEETHOVEN 


attended  by  20,000  persons,  and  titled  per- 
sonages vied  with  each  other  in  the  expression 
of  homage  and  regret. 

While  Beethoven,  in  choosing  a  recognized 
(conventional)  form—the  sonata-form — as  a 
vehicle  for  the  expression  of  his  thought 
(in  81  works,  i.  e.,  about  one-third  of  all), 
still  belongs  to  the  school  called  'classic/  his 
methods  of  moulding  this  form  were  emi- 
nently unconventional;  so  much  so,  indeed, 
that  even  at  the  beginning  of  his  'second 
period*  the  progressive  'Allgemeine  musika- 
lische  Zeitung'  of  Leipzig,  though  not  be- 
littling his  importance,  reprehends  his  'dar- 
ing harmonies  and  venturesome  rhythms.' 
As  for  his  last  period,  no  general  appreciation 
of  the  latest  string-quartets  and  pf. -sonatas 
was  found,  even  among  musicians,  until  half 
a  century  after  his  death.  His  innovations 
on  the  formal  key-scheme  of  his  predecessors; 
his  original  elaboration  of  connecting-links 
both  in  thematic  development  and  between 
separate  movements;  his  fertility  in  inci- 
dental modulation,  and  the  inexhaustible 
freshness  of  his  rhythms,  render  the  structure 
of  his  compositions  thoroughly  character- 
istic— typical.  But  his  loftiest  originality, 
and  that  whence  the  differences  in  formal 
construction  naturally  flowed,  is  the  intensity 
and  fervor  of  subjective  emotion  which  per- 
vades his^  works.  It  is  this  mood  of  profound 
subjectivity,  of  individual,  powerful  soul- 
expression,  which  most  of  all  differentiates 
B.  s  music  from  that  of  Bach,  or  Haydn,  or 
Mozart,  and.  which  opens  the  era  of  'roman- 
tic' composition.  Technically,  his  art  of 
orchestration  reaches  a  perfection  in  detail, 
and  a  grandeur  of  effect,  before  unknown; 
and  his  diversified  development  of  the  motive 
(melodic,  harmonic,  rhythmic)  surpasses  any- 
thing previous  to  Wagner.  As  specimens  of 
what  can  be  done  in  thematic  treatment,  his 
pf.-variations  on  given  themes  are  a  ne  plus 
ultra  of  musical  ingenuity.  It  is  noteworthy 
that,  according  to  contemporary  accounts, 
his  'free  improvisations'  at  the  piano,  which 
held  his  auditors  spellbound,  were  develop- 
ments of  a  kindred  nature;  not  mere  rhap- 
sodies, but  the  spontaneous  elaborations  of  a 
teeming  invention.  He  is  still  reverenced  as 
the  greatest  instrumental  composer  of  all 
times;  and  even  in  vocal  music,  YusFidelio 
and  the  Missa  solemnis  are  creations  of 
unioue  power. 

Monuments  have  been  erected  to  B.  in 
1845  at  Bonn  (by  Hahnel),  and  in  1880  at 
Vienna  (by  Zurabusch). 

B.'s  works  comprise  138  opus-numbers, 
and  about  70  unnumbered  compositions.  His 
published  works  are  noted  below. 

Instrumental  Works. 

Nine  Symphonies:  No.  1,  op.  21,  in  C;  2, 


op.  36,  in  D;  3,  op.  55,  in  Eb  (the  'Eroica'); 
4,  op.  60,  in  Bb;  5,  op.  67,  in  C  min.;  6,  op. 
68,  in  F  (Pastoral);  7,  op.  92,  in  A;  8,  op.  93, 
in  F;  9,  op.  125,  in  D  min.  (Choral). 

The  Battle  of  Vittoria  (op.  91);  music  to 
the  ballet  Prometheus  (op.  43),  and  to 
Goethe's  Egmont  (op.  84),  both  with  overtures. 

Nine  further  overtures:  Coriolanus;  Leonore 
(Nos.  1,  2  and  3);  Fidelio;  King  Stephen; 
Ruins  of  Athens;  Namensfeier,  op.  115; 
Weihe  des  Hauses  (op.  124). 

Other  comps.  for  orch.:  Allegretto  in  Eb; 
March  from  Tarpeia,  in  C;  Military  March, 
in  D;  Ritter- Ballet;  12  Minuets;  12  deutsche 
Tdnze;  12  Contret&nze. 

Violin-concerto,  op.  61,  in  D. 

Five  pf. -concertos:  No.  1,  op.  15,  in  C;  2, 
op.  19,  in  Bb;  3,  op.  37,  in  C  min.;  4,  op.  58, 
in  G;  5,  op.  73,  in  Eb  (Emperor);  also  a  pf.- 
concerto  arranged  from  the  violin-concerto. 
A  triple-concerto,  op.  56,  for  pf.#  vln.,  'cello 
and  orch.;  a  Choral  Fantasia  for  pf.f  chorus 
and  orch.;  a  rondo  in  Bb,  for  pf.  and  orch. — 
Cadences  to  the  pf.-concertos. 

Two  Octets  for  wind,  both  in  Eb. 

One  Septet  f.  strings  and  wind,  Op.  20,  in  Eb. 

One  Sextet  for  strings  and  2  horns,  op.  81 
bis,  in  Eb. 

One  Sextet  for  wind,  op.  71,  in  Eb. 

Two  Quintets  for  strings:  Op.  4,  in  E  min., 
and  op.  29,  in  C;  Fugue  for  string-quartet, 
op.  137 ;  also  Quintet  arr.  from  pf  .-trio  in  C  m. 

Sixteen  String-quartets:  Op.  18,  Nos.  1-6, 
in  F,  G,  D,  C  min.,  A  and  Ab  (first  period). — 
Op.  59,  Nos.  1-3,  in  F,  E  min.,  and  C;  op.  74, 
in  Eb  (the  Harfenquartett) ;  $p.  95,  in  F  min. 
(second  period). — Op.  127,  in  Eb;  op.  130,  in 
Bb;  op.  131,  in  C#  min.;  op.s132,  in  F  min.; 
op.  135,  in  F;  also  a  Grand  Fugue  for  string- 
quartet,  op.  133,  in  Bb  (third  period).— One 
pf. -quartet  (arr.  of  the  pf  .-quintet) ;  3  juve- 
nile pf.-quartets,  in  Eb,  D  and  C. 

Five  String-trios:  In  Eb,  G,  D,  C  min.,  and 
D  (Serenade). — Eight  Pf. -trios:  Op.  1,  Nos. 
1-3,  in  Eb,  G,  and  C  min.;  op.  70,  Nos.  1  and 
2,  in  D  and  Eb;  op.  97,  in  Bt>;  in  Bb  (1 
movem.);  in  Eb  (juvenile);  also  an  arr.  of  the 
Eroica  symphony.— Grand  trio  in  Bb,  for  pf., 
clar.  and  'cello,  op.  11;  ditto  for  ditto,  in  Eb, 
op.  38  (arr.  from  septet,  op.  20);  trio  for  2 
oboes  and  'cor  anglais,'  in  C,  ap.  87. 

Ten  Sonatas  for  pf.  and  violin:  In  D,  A, 
Eb;  in  A  min.;  in  F;  in  A,  C  min.,  G;  in  A, 
op.  47  (Kreutzer) ;  in  G. — Rondo  for  pf .  and 
vln.,  in  G;  12  Variations,  in  F,  for  do. 

Five  Sonatas  for  pf.  and  'cello:  In  F,  G 
min.;  in  A;  in  C,  D. — 12  Variations  for  do. 
in  C;  12  ditto  in  F;  7  ditto  in  Eb. 

Sonata  for  pf.  and  horn,  in  F,  op.  17. 

Sonata  for  pf.  4  hands,  in  D,  op.  6. 

Thirty-eight  Sonatas  for  pf.  solo:  Op.  2, 
Nos.  1-3,  F  min.,  A  and  C  (ded.  to  Haydn)  j 
op.  7,  in  Eb;  op.  10,  Nos.  1-3,  in  C  min.,  F 


65 


BEETHOVEN 


and  D;  op.  12,  Nos.  1-3,  in  D,  A  and  Eb  (ded. 
to  Salieri);  op.  13  (pathetic),  in  C  min.  (ded. 
to  Prince  Lichnowsky);  op.  14,  Nos.  1,  2,  in 
E  and  G;  op.  22,  in  Bi>;  op.  26,  in  A  min.  (to 
Prince  Lichnowsky);  op.  27,  Nos.  I,  2  (quasi 
fantasia),  in  Eb  and  C#  min.  (to  Princess 
Lichtenstem) ;  op.  28  (pastorale),  in  D;  op. 
31,  Nos.  1-3,  in  G,  D  min.  and  Eb;  op.  49,  2 
easy  sonatas  in  G  min.  and  D;  op.  53,  in  C 
(to  Count  Waldstein);  op.  54,  in  F;  op.  57 
(appassionata),  in  F  min.  (to  Count  Bruns- 
wick); op.  78,  in  F;  op.  79,  little  sonata  in 
G;  op.  81  (caractSristique),  in  Eb  (Les  Adieux, 
I 'absence,  le  retour,  to  Archduke  Rudolf);  op. 
90,  in  Eb  (to  Count  Lichnowsky);  op.  101, 
102,  106,  109,  110,  111  (see  above).  Also  3 
easy  sonatas  comp.  at  age  of  10,  in  Eb,  F  min. 
and  D;  3  more,  in  C  (easy),  G  and  F  (easy). 

Variations  for  pf.,  twenty-one  sets:  6  in  F; 
15  in  Eb  (Eroica);  6  in  D  (Turkish  March); 
32  in  C  min.;  33  in  C;  15  in  G  (easy);  the  re- 
maining sets  comprise  144  variations. — Also 
8  Var.  in  C,  and  6  in  D,  for  pf.  4  hands. 

Other  pf. -music:  Three  sets  of  Bagatelles; 
4  Rondos,  in  C,  G,  A  and  G  ('a  capriccio') ; 
Fantasia  in  G  min.;  3  Preludes;  Polonaise; 
Andante  in  F  ('favori') ;  Menuet  in  Eb,  and  6 
others;  13  Landler. — Also,  for  pf.  4  hands:  3 
Marches;  8  Variations  in  C;  6  ditto  in  D. 

Vocal  Music. 

Opera  Fidelio,  in  2  acts,  op.  72. 

Two  Masses,  in  C,  op.  86,  and  D  (solemnis), 
op.  123. 

Oratorio  Chrktus  am  Oelberg,  op.  85. 

Cantata  Der  -glorreiche  Augenbtick,  op.  136 
(1814);  also  arr.  as  Preis  der  Tonkunst. 

Meeresstille  und  glUckliche  Fahrt,  op.  112 
(poem  by  Goethe). 

Scena  and  aria  for  soprano,  A  h  perfido,  with 
orch.,  op.  65. 

Trio  tor  soprano,  tenor  and  bass,  Tremate, 
empi,  tremate,  op.  116. 

Opferlied  for  soprano  solo,  chorus,  and 
orch.,  op.  121  bis. 

Bundeslied  for  2  solo  voices,  3-part  chorus, 
and  wind,  op.  122. 

Elegischer  Gesang  for  4  voice-parts  and 
strings. 

Sixty-six  songs  with  pf ,-accomp. ;  one  duet. 

Gesang  der  Monche;  3  voice-parts  a  cappella. 

Eighteen  vocal  Canons. 

Seven  books  of  English,  Scotch,  Irish, 
Welsh  and  Italian  songs,  for  voice,  pf.,  vln., 
and  'cello. 

Breitkopf  &  Hartel  were  the  first  to  publ. 
a  'complete  edition'  in  24  series  comprising 
40  volumes  (1864-67,  edited  by  Rietz,  Not- 
tebohm,  David,  Hauptmann,  Reinecke,  and 
others).  An  additional  volume,  containing 
48  works  subsequently  found,  appeared  in 
1887. 


BIBLIOGRAPHY. 

A.  Biographical:  F.  G.  Wegeler  and  Ferd. 
Ries,  Biographische  Notiten  u%er  L.  van  B. 
(Koblenz,  1838;  new  ed.  by  A.  Kalischcr, 
Leipzig,  1906);  A.  Schindler,  Biographie  von 
L,  van  B.  (Mtinster,"  1840;  new  ed.  by  A. 
Kalischer,  Berlin,  1909;  Engl,  transl.  by 
Moscheles,  London,  1841);  W.  von  Lenz, 
B.:  Eine  Kunststudie  (2  vols.,  Cassel,  1855; 
I.  Das  Leben  des  Meisters  [new  ed.  by  A. 
Kalischer,  Berlin,  1908];  II.  Der  Styl  in  B.; 
Die  Mit-  u.  NachweU  B.'s:  Der  B.  Status 
quo  in  Russland);  A.  B.  Marx,  L.  van  B.'s 
Leben  u.  Schaffen  (2  vols.,  Berlin,  1859; 
6th  ed.  Leipzig,  1906);  L.  Nohl,  B.'s  Leben 
(3  vols.,  Vienna,  1864-77;  new  ed.  Berlin, 
1906);  and  B.  nach  den  Schilderungen  seiner 
Zeitgenossen  (Stuttgart,  1877);  J.  W.  von 
Wasielewsky,  L.  van  B.  (2  vols.,  Berlin, 
1888);  Th.  von  Frimmel,  B.  (Berlin,  1901); 
F.  Kerst,  B.  im  eignen  Wort  (Berlin,  1904; 
Engl,  transl.  by  ft.  E.  Krehbiel,  N.  Y., 
1905);  A.  Kalischer,  B.  u.  seine  Zeitgenossen 
(4  vols.,  Leipzig,  1910);  P.  Bekker,  B.  (Ber- 
lin, 1911);  V.  alndy,  B.:  Biographie  critique 
(Paris,  1911;  Engl,  transl.  by  Th.  Baker, 
Boston,  1913);  M.  E.  Belpaire,  B.:  Een 
kunst-  en  levensbeeld  (Antwerp,  1911);  W.  A. 
Thomas-San  Galli,  L.  van  B.  (Berlin,  1913). 
Also  G.  von  Breuning,  A  us  dem  Schwarz- 
spanierhause  (Vienna,  1874;  new  ed.  Berlin, 
1907) ;  Th.  von  Frimmel,  Neue  Beethoveniana 
(Vienna,  1888);  id.,  B.-Studien  (2  vols., 
Munich,  1905-6). — The  standard  and  most 
complete  bioer.  is  the  monumental  work  of 
Alex.  W.  Thayer,  Ludwig  van  Beethovens 
Leben  (5  vols.,  1866-1908).  'The  English 
original  was  never  published.  The  first  three 
vols,  appeared  in  a  German  translation  by 
H.  Deitere  (Berlin,  1866,  72,  77,  resp.). 
After  the  author's  death  Deiters  completed 
vols,  iv  and  v  from  Thayer's  material,  but 
died  also  before  their  publication.  He  had 
also  revised  and  enlarged  vol.  i  (Leipzig, 
1901).  D.'s  MS.  was  revised  and  edited  by 
H.  Riemann  (vol.  iv,  Leipzig,  1907;  vol.  v, 
ib.,  1908).  Vols  ii  and  iii  were  then  revised 
and  enlarged  by  R.  along  the  lines  followed 
by  D.  in  the  revision  of  vol.  i  (Leipzig,  1910 
and  '11,  resp.).  For  some  years  H.  E.  Kreh- 
biel has  been  at  work  preparing  an  Engl.  ed. 

B.  Correspondence:  The  several  partial 
collections  of  letters  ed.  by  Nohl,  Kochel, 
etc.,  have  been  superseded  by  the  following 
complete  editions:  A.  C.  Kalischer,  B.'s 
sammtliche  Briefe  (5  vols.,  1906-8;  English 
transl.  by  J.  S.  Shedlock,  London,  1909); 
F.  Prelinger,  L.  van  B.'s  sammtliche  Briefe  u. 
Aufzeichnungen  (5  vols.,  Vienna,  1907-10); 
E.  Kastner,  L.  van  B.'s  sammtliche  Briefe  (1 
vol.,  Leipzig,  1910). 

C.  Sketch-books:  I.  von  Seyfried,  L.  van 
B.'s    Studien    im   Generalbass,    Kontrapunkt, 


66 


BEETHOVEN — BEH  N  KE 


ft.  in  der  Kompositionslehre  (Vienna,  1832; 
new  ed.  by  Nottebohm,  Leipzig,  1873;  also 
by  L.  Kdhler,  ib.,  1880);  G.  Nottebohm,  Ein 
Skizzenbuch  von  B.  aus  dem  Jahre  1803 
(Leipzig,  1865;  2d  ed.  ib.,  1880);  id.,  Beet- 
hovcniana  (Leipzig,  1872);  id.,  Neue  Beet- 
hoveniana  (orig.  publ.  in  'Musikal.  Wochen- 
blatt,'  1878;  rev.  and  enlargedby  E.  Man- 
dyczewski  as  Zweite  B.  (Leipzig,  1887); 
Eigenhdndiges  Skizzenbuch  zur  9.  Symphonic 
(Leipzig,  1913;  facsim.  ed.). 

D.  Criticism,  Analysis,  btc.:  W.  von 
Lenz,  B.  et  ses  trois  styles  (Petrograd,  1852; 
new  ed.  by  M.  Calvocoressi,  Paris,  1909); 
id.,  B.:  Eine  Kunststudie  (2  vols.,  Kassel, 
1855;  enlarged  to  6  vols,  [iii-vi  being  Kri- 
tischer  Kalalog  samtlicher  Werke  L.  van  B.'s 
mit  Analyse  derselben],   ib.,    1860);   E.   von 
Elterlein,  B.'s  Klaviersonaten  (Leipzig,  1856; 
5th  cd.,  1895;  Engl,  transl.  by  E.  Hill,  Lon- 
don, 1898);  A.  Oulibicheff,  B.,  ses  critiques  et 
ses  glossateurs  (Paris,  1857;  Ger.  transl.  by 
L.     Bischoff,    Leipzig    1859);    H.    Berlioz, 
A  travers  chants  (Pans,  1862;  Ger.  transl.  by 
R.    Pohl,    Leipzig,    1864);    R.    Wagner,   B. 
(Leipzig,  1870;   reprinted  in  vol.  ix  of  'Ges. 
Schriften  u.  Dichtungen');  G.  Grove',  B.  and 
his  Nine  Symphonies  (London,  1896);  G.  Er- 
langer    et    af.,    B.'s    Symphonien    erldulert 
(Frankfort,  1896);  C.  Reinecke,  Die  Beetho- 
venschen  Klaviersonalen  (Leipzig,  1897 ;  Engl, 
transl.  London,  1898);  Th.  de  Wyzewa,  B.  et 
Wagper    (Paris,    1898);    H.    Riemann,   B.'s 
Streichquartette    (in    'Musikfuhrer/    Leipzig, 
1901-7);  W.  Nagel,  B.  u.  seine  Klaviersonalen 
(2  vols.,  Lan^ensalza,  1904);  D.  G.  Mason, 
B.  and  His  Forerunners  (London,  1905);  J.  de 
Prod'homme,  Les  Symphonies  de  B.   (Paris, 
1906);  R.  Nesieht,  Das  goldene  Zeitalter  der 
Klaviersonate  (Cologne,  1910);  H.  Schenker, 
B.'s  Neunte  Symphonic  (Vienna,  1912). 

E.  Catalogues,  Year-books,  etc.:  The 
first  catalogue,  rev.  by  B.  personally,  and 
completed  by  A.  Graffer  (Vienna,  1828),  as 
well  as  several  publ.  subsequently,  leaves 
much  to  be  desired.  The  first  valuable  the- 
matic cat.  was  issued  by  Breitkopf  &  Hartel 
(Leipzig,  1851).  It  was  thoroughly  revised 
and  enlarged  by  G.  Nottebohm,  and  publ.  as 
Thematisches  Verzeichniss  der  im  Druck  er- 
schienenen  Werke  von  L.  van  B.  (Leipzig, 
1868).  New  ed.,  together  with  Bibliotheca 
Beethoveniana,  by  E.  Kastner,  giving  a  com- 
plete list  of  all  books  (and  important  articles 
written  in  periodicals)  about  B.  from  1829- 
1913  (Leipzig,  1913).  As  a  precursor  to  his 
great  biography  A.  W.  Thayer  published  a 
Chronologisches  Verzeichniss  der  Werke  L.  van 
B.'s  (Berlin,  1865),  which  includes  also  un- 
published works.— In  1908  Th.  von  Frimmcl 
began  the  publication  of  a  'B.-Jahrbuch,' 
which  since  1911  is  publ.  as  'B.-Forschung' 
(Vienna).— Of  value  and  interest  also  are 


G.  Adler,  Verzeichnis  der  musikalischen  Auto- 
graphe  von  L.  van  B.  (Vienna,  1890),  and 
A.  C.  Kalischer,  Die  B.-Autographc  der  Kgl. 
BiUiothek  zu  Berlin,  in  'Monatsheftc  fur 
Musikgeschichte/  Oct.,  1895. 

Beffara,  Louis-Francois,  b.  Nonancourt, 
Eure,  Aug.  23,  1751;  d.  Paris,  Feb.  2,  1838. 
'Commissaire  de  Police'  1792-1816,  at  Paris. 
Antiquary  and  writer. — Works:  Did.  de 
V Academic  royale  de  Musique  (7  vols.),  and  7 
vols,  of  rules  and  regulations  of  the  *  Academie' 
(Grand  Opera) ;  Did.  alphab.  des  acteurs,  etc. 
(3  vols. ) ;  Tableau  chronologique  des  representa- 
tions journalises,  etc.  (from  1671);  Diet, 
alphab.  des  tragedies  lyrtques  .  .  .  non 
represents  &  V Academic,  etc.  (5  vols.);  Dra- 
maturgic lyrique  itrangtre  (17  vols.).  He  left 
his  rare  collection  of  books  and  MSS.  to  the 
city  of  Paris;  all  were  burned  (Jfciring  the 
Commune,  in  1871.  , 

Beffroy  de  Reigny  [bef-frwah'-du  ra-nel, 
('Cousin  Jacques'),  Louis- Abej,  b.  Laon, 
Nov.  6,  1757;  d.  Paris,  Dec.  18,  1811.  The 
author  of  several  whimsical  stago>pieces,  for 
which  he  wrote  both  text  and  music,  and  all 
of  which  are  forgotten.  Fetis  says  that  h^ 
had  neither  literary  nor  musical  talent;  but 
Nicodeme  dans  la  lune  (1790,  given  191  times 
in  13  mos.)  and  Nicodeme  aux  enfers  (1791, 
prohibited  after  7  representations,  on  acct. 
of  exciting  the  democrats),  were  certainly 
successful  in  their  way. — See  Q.-Lex. 

Behaim,  Michel,  a  Meistersinger;  b. 
1416;  d.  1474.  ^  Interesting  as  an  early  rep- 
resentative of  his  school;  closoly  allied  to  the 
Minnesanger.  Monograph  by  Ktihn,  Rhyth- 
mik  u.  Melodik  Michel  BehaimS  (Bonn,  1907). 

Behm  [bam],  Eduard,  b.  Stettin,  April  8, 
1862.  Studied  in  Leipzig  (Cons.)  and  Berlin 
(Kiel,  Raif,  Hartel),  was  for  a  time  teacher  in 
the  Erfurt  Academy  of  Music,  and  then 
Director  of  the  Schwantzer  Cons,  at  Berlin 
until  1901.  He  won  the  Mendelssohn  prize 
with  a  symphony,  and  the  Bosendorf  prize 
with  a  pf. -concerto;  has  also  written  the 
operas  Der  Schelm  von  Bergen  (Dresden, 
1890),  Marienkind  (1902),  Das  Gelobnis 
(1914);  a  string-sextet  (with  the  Stelzner 
violotta);  a  pf.-trio;  2  vln. -sonatas;  a  yln.- 
concerto;  Friihlingstdylle,  a  suits  for  violin 
•  and  orchestra;  male  chs.,  etc. 

BehnTte  [ban'kSh],  Etriil,  b.  Stettin,  1836; 
d.  Ostende,  Sept.  17,  1892.  Lived  chiefly  in 
London  as  an  authority  on  voice-training, 
and  teacher  of  voice-production  for  singers 
and  speakers.  Lecturer  on  physiology  of 
voice.  Wrote  The  Mechanism  of  the  Human 
Voice  (London,  1880);  Voice,  Song  and 
Speech  [in  coop,  with  Lennox  Browne]  (1883); 
Voice-training  Exercises  (1884),  and  The 
Child's  Voice  (1885),  the  last  two  in  coop, 
with  Dr.  C.  W.  Pearce. 

67 


BEHR— BELL 


Behr,  Franz,  comp.  for  pf.;  b.  Lttbtheen, 
Mecklenburg,  July  22,  1837;  d.  Dresden, 
Feb.  15,  1898.  Publ.  a  great  number  of  light 
and  popular  salon-pieces  and  instructive 
pieces,  some  under  the  pseudonyms  of  'Wil- 
liam Cooper,'  'Charles  Morley,'  and  'Fran- 
cesco d'Orso.' 

Behrend,  William,  b.  Copenhagen,  May 
16,  1861.  Having  completed  his  regular 
academic  education  and  passed  the  state 
examination  in  1885,  he  followed  the  profes- 
sion of  law,  accepting  a  government  position; 
now  (1916)  chief  of  the  rBureau  for  the  Wel- 
fare of  the  Young*  in  Copenhagen.  His  love 
for  music  showed  itself  early,  and  he  received 
thorough  instruction  on  the  violin  from  Am- 
berg  and  Axel  Gade,  while  G.  Matthisson- 
Hansen  was  his  teacher  in  theory.  For 
many  years  he  was  mus.  critic  of  'Politiken' 
and  'Illustrirte  Zeitung';  now  on  the  staff  of 
Tilskueron';  contributor  to  'Die  Musik'  and 
'Signale'  (Berlin)  and  'Musikalisches  Wochen- 
blatt'  (Leipzig);  one  of  the  founders  of  the 
Danish  Richard  Wagner- Verein  (at  present 
its  vice-ptes.).  Years  of  intimate  association 
with  Niels  Gade  stimulated  him  to  write 
about  music;  married  in  1900  Gudda  Home- 
man,  a  writer  of  some  reputation;  created 
'Knight  of  Danebrog'  in  1914.  Wrote  a 
biography  of  J.  P.  E.  Hartmann  (1895),  vol. 
ii  of  Illustreret  MusikhistorU  (1905;  from 
Gluck  to  modern  times;  2d  ed.  in  prep.),  the 
biographies  of  musicians  for  Salmon  sen's 
'Konversationslexikon'  (18  vols.);  numerous 
articles  in  German  and  Danish  journals;  is 
engaged  on  an  exhaustive  biogr.  of  Gade — a 
brief  essay  appeared  in  1887  in  'Tilskueren' — 
to  be  pubL  in  the  year  of  G.'s  centenary 
(1917). 

Behrens,    Cecile    Matullath,    concert - 

?ianist;  b.  Pittsburgh,  Pa.,  June  25,  1879. 
'upil  in  San  Francisco  of  Ernest  Hart- 
mann; debut  there  in  1886;  then  st.  in  N.  Y. 
with  Wm.  Mason,  whose  asst.  she  became 
later;  subsequently  also  with  V.  Safonov. 
Resides  in  N.  Y.  as  teacher;  specially  valued 
as  an  ensemble  player  (w.  Kneisel  Quar.,  etc.). 

Beier,  (Dr.)  Franz,  b.  Berlin,  Apr.  18, 
1857;  d.  Kassel,  July  25,  1914.  In  1894, 
Kapellm.  in  the  Royal  Theatre  at  Kassel. — 
Opera-parody  Der  Posaunist  von  Speikingew 
(Kassel,  1889:  succ);  comic  operetta  Der 
Gaunerkonig  (Kassel,  1890;  succ).  Prod,  a 
revision  of  Spohr's  Die  Kreuzjahrer  (Kassel, 
1899). 

Bekker,  Paul,  b.  Berlin,  Sept.  11,  1882. 
Pupil  of  F.  Rehfeld  (vl.),  A.  Sormann  (pf.), 
and  B.  Horwitz  (theory) ;  began  his  career  as 
violinist  in  the  Philh.  Orch.  in  Berlin;  for  a 
short  time  cond.  at  Aschaffenburg  and  Gor- 
litz;  returned  to  Berlin  in  1906  as  mus.  critic 
of  the  'Neueste  Nachrichten,'  writing  also  the 


program-books  for  the  concerts  of  the  Philh. 
Soc.;  1909,  critic  for  the  'Berliner  Allgem. 
Zeitung';  removed  to  Frankfort  in  1911,  and 
has  since  then  been  critic  for  the  'Frankfur- 
ter Zeitung.'  Publ.  biographies  of  Oskar  Fried 
(1907)  and  Jacques  Offenbach  (1909);  also 
Das  Musikdrama  der  Gegenwart  (1909)  and 
Beethoven  (1911). 

Bel'cke,  Christian  Gottlieb,  b.  Lucka, 
July  17, 1796;  d.  there  July  8, 1875;  a  brilliant 
flutist,  1819-32  in  Gewandhaus  Orch.,  Leip- 
zig; 1834-41  at  Altenburg.  Wrote  concertos, 
fantasias,  etc.,  for  flute. — His  brother, 

Bel'cke,  Friedrich  August,  b.  Lucka, 
Altenburg,  May  27,  1795;  d.  there  Dec.  10, 
1874.  Celebrated  trombone-player;  1815,  in 
Gewandhaus  Orch.,  Leipzig;  chamber-musi- 
cian at  Berlin,  1816-58.  He  was  the  first 
concert -virtuoso  on  the  trombone,  for  which 
he  wrote  concertos  and  etudes. 

Belia'iev  [Beljajew],  Mitrofan  Petro- 
vitch,  the  noted  music-publisher;  b.  Petro- 
grad,  Feb.  22,  1836;  d.  there  Jan.  10,  1901. 
On  finishing  his  regular  schooling,  he  entered 
the  business  of  his  father,  a  lumber-dealer, 
but  still  maintained,  as  a  musical  amateur, 
his  intimacy  with  leaders  of  the  neo-Russian 
school  of  music.  On  his  father's  death  (1888) 
the  income  from  the  business  was  employed 
to  found  a  music-publishing  establishment 
solely  for  works  by  young  Russian  composers; 
some  3,000  numbers  have  been  issued  (chiefly 
opera-scores,  piano-arrangements,  concert - 
pieces,  symphonies,  and  chamber-music).  He 
also  instituted  symphony  and  chamber-con- 
certs for  the  aid  and  encouragement  of  strug- 
gling talent;  his  will  (by  which  the  music- 
publ.  establishment  is  constituted  a  founda- 
tion, conducted  by  a  committee  of  Russian 
composers  — ^  Rimsky-Korsakov,  Glazunov, 
Liadov)  provides  for  at  least  10  symphony 
concerts  and  4  'Quartet  Evenings'  each  sea- 
son, besides  continuing  other  chamber-music 
performances,  offering  prizes  for  the  best 
compositions,  and  establishing  a  pension  fund 
for  needy  comps.,  musicians,  and  their  families. 

Be'liczay  [lit-si],  Julius  von,  b.  Komorn, 
Hungary,  Aug.  10,  1835;  d.  Pest,  May  1, 
1893.  Pupil  of  Joachim,  Hoffmann  and 
Franz  Krenn;  1888,  prof,  of  theory  at  the 
Nat.  Acad,  of  Mus.,  Pest. — Works:  Mass  in 
F,  often  perf.;  symphony  in  D  m.  (1888); 
Ave  Maria-,  f.  soprano  solo,  ch.  and  orch.  (op. 
9);  serenade  for  strings  (op.  36);  Andante  for 
string-orch.  (op.  25);  trio  in  E>  (op.  30); 
string-quartet  in  G  m.  (op.  21);  pf. -pieces, 
etudes,  songs,  etc.  In  1891  he  publ.  Part  I 
of  a  'Method  of  Comp.'  (in  Hungarian). 

Bell,  William  Henry,  b.  St.  Albans,  Engl., 
Aug.  20,  1873.  Chorister  at  St.  A.  Cath.  until 
1889,  when  he  won  the  Goss  scholarship  at 


68 


BELLA— BELLI 


the  R.  A.  M. ;  studied  there  4  years  with  Steg- 
gall  (org.),  Burnett  (vl.),  Izard  (pf.),  and  F. 
Corder  (comp.);  1903-12,  prof,  of  harmony 
there;  since  1912,  dir.  of  South  African  Coll. 
of  Music  in  Cape  Town. — Works:  Prologue  to 
Chaucer's  Canterbury  Tales;  Canterbury  Tales, 
three  symph.  poems;  Walt  Whitman,  symph. 
in  C  m.;  The  Open  Road,  symph.  in  F;  the 
symph.  preludes  A  Song  in  the  Morning,  The 
Passing  of  Wenonah,  Agamemnon  (iEschylus) ; 
other  works  for  orch.,  Mother  Carey,  Love 
among  the  Ruins,  The  Shepherd,  Two  Mood- 
Pictures,  Epithalamion,  Arcadian  Suite;  Eng- 
lish Dance  Suite  for  small  orch. ;  choral  works 
with  orch.,  Hawke,  The  Call  of  the  Sea,  Ballad 
of  the  Bride,  The  Baron  of  Brackley;  2  string- 
quartets;  sonata  for  via.  and  pf.;  songs. 

Bella,  Johann  Leopold,  b.  Lipto-Szent 
Miklos,  Upper  Hungary,  Sept.  4,  1843;  priest 
and  canon  at  Neusohl;  now  cantor  and  mus. 
dir.  at  Hermannstadt;  comp.of  much  church- 
music  in  severe  style;  also  orch.  works,  na- 
tional choruses  for  men's  voices  and  mixed 
chorus,  pf.-pieces,  etc.       n 

Bellaigue  [-a*'],  Camille,  b.  Paris,  May  24, 
1858.  Law-student,  taking  a  course  in  music 
under  Paladilhe  and  Marmontel;  1884,  music 
critic  for  the  'Correspondant';  since  1885,  on 
'La  Revue  des  deux  Mondes';  also  writing  for 
'Le  Temps.1  His  best-known  essays  and 
studies  are  pub!,  under  the  following  titles: 
Vannee  musicale  (5  vols.,  1886-91);  La  Mu- 
sique francaise  au  XIX€  Steele  (2  vols.,  1890); 
Lannee  musicale  et  dramatique  (1893);  Psy- 
chologic musicale  (1894);  Portraits  et  silhou- 
ettes de  musiciens  (1896;  English,  '97 ;  German, 
1903) ;  £tudes  musicales  et  nouvelles  silhouettes 
de  musiciens  (1898;  Engl.,  1899);  Impressions 
musicales  et  litteraires  (1900) ;  Uttudes  musicales 
(2  vols.,  1903,  '07);  Mozart:  biographic  cri- 
tique (1906);  Mendelssohn  (1907,  in  'Maltres 
de  musique');  Les  £poques  de  la  musique 
(2  vols.,  1909);  Gounod  (1910). 

Bella'sio,  Paolo,  comp.  of  the  Venetian 
school  in  the  16th  century;  published  a  vol. 
of  Madrigals  (1579),  one  of  Villanelle  alia 
Romana  (1595),  and  various  other  madrigals 
in  the  collection  'Dolci  affetti'  (1568). 

BeTlasis,  Edward,  English  writer;  b.  Jan. 
28,  1852.  Publ.  Cherubini:  Memorials  Illus- 
trative of  His  Life  (London,  1874);  also 
pf.-music,  several  songs,  etc. 

Bell' Ave  re  (or  Bell' Haver),  Vincenzo, 

b.  Venice,  1530  (?);  d.  there  1588  (?);  pupil 
of  A.  Gabrieli,  whom  he  succeeded  as  2nd  org. 
of  San  Marco  (1586).  Publ.  several  books  of 
madrigals  (1567-75;  only  Book  II,  a  5,  is 
extant)  i  and  single  ones  in  various  collections. 

Bellaz'zl  [-laht'se],  Francesco,  Venetian 
comp.,   pupil   of   Giovanni   Gabrieli;   publ. 


69 


(1618-28)  a  mass,  psalms,  motets,  litanies, 
canzoni,  etc. 

Bellere  [-lar']  (or  Bellerus,  properly  Beel- 
laerts),  Jean,  bookseller  and  music-publ.  at 
Antwerp,  where  he  died  in  1595.  A  partner 
of  Pierre  Phalese  {fits).  His  son,  Balthaaar, 
transferred  thej>ustness  to  Douai,  and  printed 
much  music  up  to  c.  1625.  His  printed  cata- 
logue of  compositions  publ.  by  him  (1603-5), 
was  found  by  Coussemaker  in  the  Douai 
library. 

Bellermann,    (Johann)    Friedrich,    b. 

Erfurt,  Mar.  8,  1795;  d.  Berlin,  Feb.  4,  1874. 
From  1847-68,  Director  of  the  gymnasium 
'Zumgrauen  Kloster'  at  Berlin.  Distinguished 
writer  on  Greek  music.  His  chief  woric  is  Die 
Tonleitern  u.  Musiknoten  der  Griechen  (Ber- 
lin, 1847;  explanatory  of  the  Greek  eystem  of 
notation) ;  Die  Hymnen  des  Dionysijp  u.  Meso- 
medes  (Berlin,  1840),  and  Anonymuscriptio  de 
musica,  Bacchii  senioris  introduetio,ftc.  (1841), 
are  smaller  treatises  on  Greek  mus.  as  practised. 

Bellermann,  (Johann  Gottfried)  Hein- 
rich,  son  of  preceding;  b.  Berlin,  Mar.  10, 
1832;  d.  Potsdam,  April  10,  1903.  Pupil  of 
the  R.  Inst,  for  Ch.-music,  also  of  E.  A.  Grell. 
1853,  teacher  of  singing  at  the  'Graues  Klo- 
ster'; 1861,  R.  Musikdirektor;  1866,  prof,  of 
music  at  Berlin  Univ.,  succeeding  Marx.  He 
composed  many  vocal  works.  His  book,  Die 
Mensuralnoten  und  Taktzeichen  int  15.  u.  16. 
Jahrh.  (Berlin,  1858;  2d  ed.  1906),  gives  an 
excellent  exposition  of  the  theory  of  mensural 
music;  his  treatise  Der  Kontrapunkt  (1862;  2d 
ed.  1877)  revives  the  theories  of  J.  J.  Fux's 
•'Gradus  ad  Parnassum,'  his  adherence  to 
which  B.  attempted  to  justify  in  a  pamphlet 
Die  Grosse  d.  mus.  Intervalle  als  Grundlage  d. 
Harmonic  (1873).  He  also  contributed  inter- 
esting articles  to  the  'Allgem.  musikal.  Zei- 
tung  (1868-74)  and  publ.  a  biography  of 
E.  A.  Grell  (1899). 

Belleville-Oury,  Caroline  de,  brilliant 
pianist,  b.  Landshut,  Bavaria,  Jan.  24,  1808; 
d.  Munich,  luly  22,  1880.  .Pupil  of  Karl 
•Czerny;  made  lone  concert-tours,  and  lived 
for  many  years  in  London,  where  she  married 
the  violinist  Oury.  Her  popular  pf.-comps. 
are,  properly  speaking,  arrangements. 

Betl'Haver,  Vincenzo.    See  Bell 'Ave  re. 

Bel'li,  Domenico,  from  1610-13  Gaglia- 
no's  successor  as  teacher  of  singing  at  S. 
Lorenzo,  Florence;  early  comp.  for  aceomp. 
solo  voice;  publ.  Arte  a  J  e  2  voci  per  sonare 
con  il  chitarrone  (1616),  and  Orfeo  dolente 
(5  Intermezzi  to  Tasso's  Aminta;  1616). 

Belli,  Girolamo,  composer  of  the  Vene- 
tian school;  b.  in  Argenta  (Ferrara),  1552; 
a  pupil  of  L.  Luzzaschi;  chapel-singer  to  the 


BELLI— BELLINI 


Duke  of  Mantua. — Publ.  3  books  of  madri- 
gals a  6  (1583,  '84,  '93),  9  books  of  madrigals 
a  5  (1584,  '86;  the  9th,  1617);  2  books  of 
canzonets  a  4  (1584,  '93) ;  Sacrae  cantiones  a  6 
(1585),  a  8  (1589),  and  a  10  (1594);  2  magni- 
ficats (1610);  and  Salmi  a  5;  some  5-p.  madri- 
gals in  the  coll.  'De'  florid i  virtuosi  d*  Italia' 
(1586). 

Belli,  GiuHo,  b.  Longiano,  c.  1560;  in 
1582,  music-director  at  the  cathedral  in  I  mo- 
la;  1590,  Franciscan  friar  at  Carpi,  and  m.  di 
capp.  there;  after  living  in  Ferrara,  Venice, 
and  other  cities  he  returned  to  Imola  in  1607 
as  m.  di  capp.  at  S.  Antonio.  —  Biogr.  by 
A.  Brigidi :  Cenni  sulla  vita  e  suite  obere  at  G.  B. 
(Modena,  1865;  pp.  19). — He  publ.  canzonets 
a  4  (1584,  '86,  '93,  '95);  also  madrigals  (1589, 
'92);  but  was  chiefly  important  as  a  church 
composer,  publishing  from  1586  to  1621  a 
great  num|>er  of  masses,  motets,  jpsalms,  ves- 
pers, sacrae  cantiones,  etc. — See  Q.-Lex. 

Bellinclt'nl  [-choh'ne],  Gemma,  Italian 
dramatic  soprano;  b.  Como,  Italy,  Aug.  19. 
1866.  Taught  bv  her  father,  Cesare  B.,  and 
Corel  (1880);  debut  at  the  Fiorentini  Th., 
Naples,  in  1881,  in  Pcdrotti's  TuUi  en  ma- 
schera.  The  same  year  she  married  the  tenor 
Stagno  (q.  v.).  She  then  travelled  for  sev- 
eral years  in  Spain  with  Tamberlik;  has  sung 
on  all  principal  stages  of  Italy,  including  La 
Scala;  has  toured  South  America  and  (1899) 
the  United  States  in  opera;  has  also  toured 
Germany,  Russia,  Austria,  Rumania,  Portu- 
gal, Switzerland,  and  England.  Her  crea- 
tions include  the  prima-donna  roles  in  Caval- 
leria  Rusticana  (1890),  Fedora,  A  Santa  Lucia, 
Lorenza,  La  Martire,  Saffo  (Massenet;  in  , 
Itah),  Nozze  istriane,  Moina  (at  Monte  Car- 
lo; in  French),  Labilia  (Spinelli),  Rudello 
(Ferroni).  Favorite  r61es  are  Carmen,  Sapho, 
Manon,  Violet ta,  Totca,  Santuzza,  Fedora; 
besides  which  she  has  about  thirty  more 
actually  sung  on  the  stage.  Violetta  (Travi- 
ata)  is  considered  her  most  striking  imper- 
sonation. Her  voice  is  brilliant  in  the  high 
register,  though  apt  to  be  dull  in  the  me- 
dium; but  always  of  strong  emotional  power 
and  intensity.  In  1911  she  settled  in  Berlin 
as  a  teacher. — Her  daughter  Bianca  made 
her  debut  at  Graz  in  1913. 

BelU'ni,  Vincenzo,  famous  opera-comp.; 
b.  Catania,  Sicily,  Nov.  3,  1801 ;  d.  Puteaux, 
near  Paris,  Sept.  23,  1835.  Taught  at  first 
by  his  father,  an  organist,  he  was  sent  in 
1819,  at  the  expense  oT  a  nobleman  impressed 
by  the  boy's  talent,  to  the  Conservatorio  di 
San  Sebastiano  at  Naples.  Here  his  instruc- 
tion from  the  masters  Furno,  Tritto  and  Zin- 
garelli  was  carried  on  until  1827  with  the 
slovenly  lack  of  method  then  prevailing  in 
the  institution;  B.  probably  profited  far  more 
by  his  private  ana  zealous  study  of  Haydn 


and  Mozart,  Jommelli  and  Paisiello,  and, 
above  all,  Pcrgolesi.  His  student-composi- 
tions were  a  romance,  an  aria,  a  symphony 
for  full  orch.,  two  masses,  several  psalms,  and 
a  cantata,  Ismene;  finally  his  first  opera, 
Adelson  e  Salvini,  was  perf.  by  Cons,  pupils 
on  Jan.  12,  1825,  and  its  success  encouraged 
him  to  further  dramatic  effort.  Barbaja,  man- 
ager of  the  San  Carlo  Th.,  Naples,  and  La 
Scala,  Milan,  commissioned  B.  to  write  an 
opera,  and  Bianca  e  Fernando  was  enthusias- 
tically received  at  the  former  theatre  in 
1826;  followed  in  1827  by  7/  Pirata,  and  in 
1829  by  La  Straniera,  both  in  Milan.  It  is 
interesting  to  note  that  the  librettist  of  II 
Pirata,  Felice  Romani,  wrote  the  books  of  all 
the  succeeding  operas  except  /  Puritani. 
B.  met  his  first  reverse  at  rarma,  for  the 
inauguration  of  the  Teatro  Nuovo  in  which 
town  he  wrote  to  order  the  opera  Zaira 
(1829),  which  was  a  flat  failure.  Undis- 
mayed, he  accepted  a  fresh  order  from  La 
Fenice  Theatre  at  Venice,  for  which  he  com- 
posed in  forty  days  the  opera  I  Capuleti  e 
Montecchi  (1830),  which  was  hailed  as  a 
masterwork.  After  a  severe  illness,  he 
brought  out  La  Sonnambula  at  the  Teatro 
Carcano,  Milan  (1831);  with  this  work,  and 
Norma,  which  was  given  at  La  Scala  on 
Dec.  26,  1831,  B.  rose  to  the  height  of  his 
powers  and  the  zenith  of  his  fame — yet 
Norma,  which  B.  himself  considered  his 
greatest  work,  and  in  which  Giuditta  Pasta 
created  the  title-role,  was  coldly  received 
that  first  evening!  But  in  brief  space  its 
beauties  were  recognized,  and  the  warmth  of 
its  reception  in  other  cities,  notably  in  Paris 
(1835),  amply  justified  its  author's  verdict. 
His  Beatrice  di  Tenda  (Venice,  1833)  shows  a 
distinct  falling-off ,  and  failed  of  popular  appre- 
ciation. In  .1834  he  was  invited  to  write  an 
opera  for  the  Theatre  Italien  at  Paris;  this 
was  /  Puritani,  libretto  by  Count  Pepoli;  its 
triumphant  production  was  the  composer's 
last  great  success,  for,  although  commissioned 
immediately  to  write  two  more  operas  for  the 
San  Carlo  Th.,  he  died  at  the  village  of  Pu- 
teaux, whither  he  had  retired  to  work  on  the 
new  scores.  Forty  years  later,  his  remains 
were  removed  to  Catania,  where  a  monument 
was  erected  to  his  memory;  another  monu- 
ment, due  to  the  exertions  of  his  bosom 
friend,  Francesco  Florimo,  was  dedicated  at 
Naples  in  1886. 

Bellini's  genius  is  exhibited  in  the  grace, 
tenderness,  pathos  and  fervor  of  his  melodies, 
fashioned  with  a  consummate  knowledge  of 
vocal  resource  and  effect.  On  the  other 
hand,  his  scores  show  the  worst  defects  of  the 
old  Italian  school — monotony  in  harmony, 
and  amateurish  instrumentation;  for  these 
his  imperfect  training  is  doubtless  largely 
responsible.     In  his  best  moments  he  sur- 


70 


BELLMAN— BENDA 


passes  his  brilliant  contemporary,  Rossini,  in 
the  grace  and  sensuous  warmth  and  charm  of 
his  melodies;  in  other  respects  he  is  the  lat- 
ter's  inferior. — Bibliography:  F.  Cicconetti, 

Vita  di  V.  B.  (Prato,  1859);  A.  Pougin,  B., 
sa  vie,  ses  ctuvres  (Paris,  1868);  A.  Amore, 

V.  B.,  Vita,  studi  e  ricerche  (Catania,  1894); 
P.  Voss,  V.  B.  (Leipzig,  1901);  W.  A.  Lloyd, 

V.  B.:  A  Memoir  (London,  1908);  L.  Parodi, 

V.  B.  (Sanpierdarena,  1913);  M.  Scherillo, 
Belliniana  (Milan,  1885);  L.  Salvioli,  B., 
Lettere  inediU  (ib.,  1885). 

Bellman,  Carl  Mikael,  b.  Stockholm, 
Feb.  4,  1740;  d.  there  Feb.  11,  1795.  This 
famous  Swedish  poet  set  to  music  his  lyric  or 
burlesque  popular  scenes,  Bacchanaliska  or- 
denskapitlets  handlingar  (1783),  and  Fredmans 
epistlar  (1790),  Fredmans  Sanger  (1791),  etc. 

BelTmann,  Karl  Gottfried,  b.  Schellen- 
berg,  Saxony,  Aug.  11, 1760;  d.  Dresden,  1816. 
Celebrated  pf. -maker;  also  bassoon-player. 

BelTmann,  Karl  Gottlieb,  b.  Muskau, 
Sept.  6,  1772;  d.  Dec.  26,  1861,  in  Schleswig, 
where  he  had  been  organist  since  1813. 
Comp.  the  German  national  song  Schleswig- 
Holsiein  meerumschlungen;  also  a  motet,  and 
a  Christmas  cantata. 

Belloc,  Teresa  [Georgi  -  Trombetta  - 
Belloc],  famous*  dramatic  mezzo-soprano;  b. 
S.  Begnino,  Canavese,  Aug.  13,  1784;  d.  S. 
Giorgio,  May  13,  1855.  From  1804-24  she 
sang  at  La  Scala,  Milan,  and  made  triumphal 
tours  throughout  Italy,  also  to  Paris,  and 
(1817)  London.  She  left  the  stage  in  1827, 
after  a  season  in  Trieste.  She  sang  leading 
roles  in  over  80  operas,  Rossini's  being  the 
favorites. — Biogr.  sketch,  La  cantante  Teresa 
Belloc,  by  C.  Boggio  (Milan,  1895). 

Belloli,  Agostino,  b.  Bologna;  1819-29 
first  horn  at  La  Scala,  Milan,  for  which  he 
wrote  6  ballets  (1821-23),  and  several  operas. 
Published  pieces  and  studies  for  horn. 

Belloli,  Luigl,  b.  Castelfranco,  Bologna, 
Feb.  2,  1770;  d.  Milan,  Nov.  17,  1817.  For 
years  he  was  horn-player  at  La  Scala,  and 
from  1812  prof,  of  horn  at  M.  Cons.  Wrote 
several  operas  and  ballets  (La  Scala,  1803-6) ; 
also  concertos  and  a  Method  for  horn. 

Bern  berg  [bahn-bar'],  Henri,  b.  Paris,  Mar. 
29,  1861;  pupil  of  Bizet,  then  of  Paris  Cons. 
(Dubois,  Franck  and  Massenet);  won  Ros- 
sini prize  in  1885.  Dramatic  composer. — 
Works:  1-act  opera  Le  baiser  de  Suion  (Paris, 
Op.-Com.,  1888;  mod.  succ);  4-act  opera- 
legende  Elaine  (London,  Covent  Garden. 
1892;  New  York,  1894).  Has  also  published 
numerous  songs. 

Be'metzrieder,  Anton,  b.  Alsatia,  1743; 
d.  London,  1817.  A  mus.  theorist,  at  first 
Benedictine  monk;  on  leaving  the  order  he 
became  Diderot's  pupil  and  protege  at  Paris, 


and  lived  1782-1817  in  London.  He  wrote 
Lcqons  de  clavecin  et  principes  d' harmonic 
(Paris,  1771;  London  [Engl.],  1778),  and  a 
score  of  other  text-books,  etc.,  of  doubtful 
value. — See  Q.-Lex. 

Ben'da,  Franz,  b.  Alt-Benatek,  Bohemia, 
Nov.  25,  1709;  d.  Potsdam,  March  7,  1786. 
Famous  violinist,  pupil  of  Lobel,  Konicek, 
and  (1732)  of  J.  S.  oraun  at  Ruppin.  Leader 
of  the  orch.  of  the  Crown  Prince  (afterwards 
Frederick  II),  whom  he  accomp.  in  some 
50,000  concertos  during  40  years'  service. 
Excellent  teacher. — Publ.  works:  Op.  1,  6 
Trio-Sonatas  (2  vlns.  w.  b.  c);  op.  2,  2  vln.- 
concertos;  op.  3  and  5,  each  3  sonatas  for 
vln.  w.  b.  c;  and  violin-etudes.  Symphonies, 
concertos,  etc.,  in  MS. — Autobiogr.  in  the 
'Neue  Berliner  Musikzeitung/  10th  yearly 
vol.,  p.  32. — See  Q.-Lex. 

Ben'da,  Friedrich  Ludwig,  son  of  Georg; 
b.  Gotha,  1746;  d.  K6nigsbcrg,  March  27, 
1793.  1780,  opera- Kapellm.  at  Hamburg, 
1782  chamber- virtuoso  at  Schwerin,  1789 
concert-director  in  Kdnigsberg. — Works:  1 
opera  and  3  operettas;  also  cantatas,  3  violin- 
concertos,  etc. — See  Q.-Lex. 

Ben'da,  Friedrich  (Wilhelm  Heinrich), 

violinist;  b.  Potsdam,  July  15,  1745;  d.  there 
June  19,  1814.  Eldest  son,  and  pupil,  of 
Franz  B.;  1765-1810,  royal  chamber- mus.; 
excellent  pianist  and  composer. — Works:  2 
operas,  Alceste  (1786)  and  Ortoheus  (1789)"; 
an  operetta,  Das  Blumenmadcnen;  2  orato- 
rios, and  a  cantata,  Pygmalion;  concertos  for 
violin;  ditto  for  flute;  much  chamber-music. 
— See  Q.-Lex. 

Ben'da,  Georg,  brother  of  Franz;  b. 
Jungbunzlau,  Bohemia,  June  30,  1722;  d. 
Kostritz,  Nov.  6,  1795.  Third  son,  and 
pupil,  of  Hans  Georg  B.  Chamber- musician 
(1742-8)  at  Berlin,  then  at  Gotha,  where  he 
became  court  Kapellm.  in  1748,  and  in  1764 
went  to  Italy,  returning  in  1766.  He  re- 
mained in  Gotha  until  1788,  prod.  14  Sing- 
spiele  and  melodramas  (his  best  works:  Ari- 
adne auf  Naxos,  Medea,  Almansor,  Nadine); 
then  resigned,  lived  in  Hamburg,  Vienna,  and 
other  towns,  finally  settling  in  Kostritz. 
Most  of  his  other  works  (church-music,  sym- 
phonies, concertos,  sonatas,  etc.)  are  in  MS. 
in  the  Berlin  library. — He  conceived  the 
original  idea  of  the  music-drama  with  spoken 
words,  the  music  being  carried  out  by  the 
orchestra  only — i.  e.,  pure  melodrama.  [But 
see  Rousseau,  J. -J.]. — Biogr.  by  Hodcrmann 
(1895);  F.  Bruckner  (Rostock,  1904);  and 
E.  Istel,  in  Die  Enlstehung  des  deutschen 
Melodrams  (Berlin,  1906).— See  Q.-Lex. 

Ben'da,  Johann,  brother  of  Franz;  b. 
Alt-Benatek,  1713;  d.  Potsdam,  1752,  as 
chamber-musician.  Violinist;  left  3  MS. 
violin-concertos. 


71 


BENDA— BENEDICT 


Ben 'da,  Joseph,  violinist,  pupil  and 
youngest  brother  of  Franz;  b.  May  7,  1724; 
d.  Berlin,  Feb.  22,  1804.  His  brother's 
successor  as  leader;  pensioned  1797. 

Ben 'da,  Karl  Hermann  Heinrlch,  young- 
est son  of  Georg;  b.  Potsdam,  May  2,  1748; 
d.  March  IS,  1836.*  Fine  violinist,  leader  of 
the  royal  opera-orch.,  teacher  of  King  Fried- 
rich  Wilhelm  III  and  Rungenhagen.  Comp. 
chamber-music. 

Ben'del,  Franz,  b.  Schdnlinde,  northern 
Bohemia,  March  23,  1833;  d.  Berlin,  July  3, 
1874.  Accomplished  pianist,  pupil  of  Proksch 
(Prague)  and  Liszt  (Weimar;;  from  1862  in 
Berlin  as  teacher  in  Kullak's  Academy. — 
Works:  Salon-pieces  for  pf.,  of  real  merit;  pf.- 
concerto,  pf.-trio,  sonata  for  pf.  and  violin, 
eludes  (Am  Genfer  Sec,  op.  109;  Study  in 
Sixths,  Bl>  m.\  nocturnes,  romances,  etc.; 
also  symphonies,  4  masses  and  several  books 
of  songs,  many  of  which  are  charming. 

Ben'deler,  Johann  Philipp,  b.  Rieth- 
nordhausen,  n.  Erfurt,  1660;  d.  1708  as  can- 
tor in  Quedlinburg  (Harz).  Clavecinist,  org. 
and  writer  (his  Organopoeia,  publ.  1690,  was 
republ.  1739  as  Orgelbaukunst). 

Ben'der,  Jakob,  brother  of  Valentin;  b. 
Bechtheim,  1798;  d.  Antwerp,  Aug.  9,  1844, 
as  director  of  the  Antwerp  wind-band,  having 
succeeded  his  brother  in  this  position.  Also 
clarinettist;  composed  military  music. 

Ben'der,  (Jean)  Valentin,  b.  Bechtheim, 
n.  Worms,  Sept.  19,  1801;  d.  Brussels,  Apr. 
14,  1873.  Clarinet-virtuoso  and  bandmaster; 
music-director  to  the  (Belgian)  Royal  House. 
Composed  military  music  and  clarinet-pes. 

Ben'dlx,  Max,  conductor;  b.  Detroit, 
Mich.,  March  28,  1866.  Educated  in  N.  Y., 
Cincinnati,  and  Berlin.  Concert-master  M. 
O.  H.  (1886);  Theo.  Thomas  Orch.,  N.  Y. 
and  Chicago  (1886-96);  toured  as  soloist 
(1896-1900);  private  teaching  and  concerts 
to  1905;  concert-master  M.  O.  H.  (1905); 
cond.  for  Manhattan  Op.  H.  (1907);  toured 
(1908),  giving  100  recitals,  25  joint  recitals 
with  Rudolph  Ganz;  asst.-cond.  M.  O.  H., 
(1909);  cond.  many  operettas  (1910-14)  in 
N.  Y.  and  London;  cond.  Nat.  Symph.  Orch., 
Chicago  (1914-15);  cond.  at  World's  Fair 
(1893);  St.  Louis  (1904);  at  present  with 
H.  W.  Savage. — Works:  36  songs;  Tema  con 
Variasioni  for  'cello  and  orch.;  The  Sisters, 
ballad  for  sop.  w.  orch.;  music  to  the  play 
Experience;  vln.-conccrto  in  E  m.;  Pavlowa, 
valse-capricc  for  orchestra. 

Ben'dix,  Otto,  b.  Copenhagen,  July  26, 
1845;  d.  San  Francisco,  March  1,  1904.  Pupil 
of  A.  Ree  and  Cade;  also  of  Kullak  (Berlin)  and 
Liszt  (Weimar).  Pf. -teacher  in  Copenhagen 
Cons.,  and  oboist  in  thcatrc-orch.  Settled  in 
Boston,  Mass.,  1880,  as  teacher  of  pf.  in  the 


72 


N.  E.  Cons.;  removed  to  San  Francisco  in 
1895,  and  establ.  there  his  own  Cons.;  gave 
very  successful  concerts  in  Europe  and 
America,  and  published  some  pieces  for  pf., 
etc. 

Ben'dix,  Victor  (Emanuel),  b.  Copen- 
hagen, May  17, 1851;  violin-virtuoso,  pianist, 
composer;  pupil  and  protege  of  Gade.  Living 
in  Copenhagen  as  a  pf  .-teacher  and  conductor 
of  a  choral  society.  Besides  pf. -compositions 
of  great  merit,  he  has  written  4  symphonies: 
— Symphony  Zur  Hohe,  in  C  [also  named 
Felsensteigung];  in  D,  Sommerkl&ngc  aus 
SUdrussland;  in  A  m.;  in  D  m.;  an  overtures 
a  pf. -concerto;  a  pf.-trio;  choral  works  w. 
orch.:  etc. 

Ben'dl,  Karl,  b.  Prague,  April  16,  1838; 
d.  there  Sept.  16,  1897.  Pupil  of  Blazok  and 
Pietsch  at  the  Organists'  Scnool,  Prague,  till 
1858.  For  a  time  Tie  was  chorusmaster  of  the 
German  Opera,  Amsterdam  (1864).  Returned 
1865  to  Prague;  after  1866,  conductor  of  the 
male  choral  society  'Hlahol.' — Works:  Czech 
national  operas  Lejla  (1868),  Bretislav  and 
Jitka  (1869),  Cemahorci  (1881),  Karel  Skreta 
(comic,  1883),  Dite  Tdbora  [Child  of  the 
Camp)  (1892,  3  acts),  Mother  Mil*  (1895), 
The  Bagpiper  (1907);  all  at  the  National  Th., 
Prague,  and  on  its  standing  repertory.  Also 
a  ballet,  Bohemian  Wedding;  S  masses,  sev- 
eral cantatas  for  soli,  ch.  and  orch.;  an  over- 
ture, a  Dithyramb,  a  Concert  Polonaise,  a 
Slavonic  Rhapsody,  etc.  for  orch.;  a  string- 
quartet;  200  Czech  soi.gs  and  choruses;  pf- 
music. — Bendl,  jointly  with  Smetana  and 
Dvorak,  earned  the  distinction  of  winning 
general  recognition  for  Czech  musical  art. 

Benedict,  Sir  Julius,  b.  Stuttgart,  Nov. 
27,  1804;  d.  London,  June  5,  1885.  He  was 
the  son  of  a  Jewish  banker;  pupil  of  Abeille, 
Hummel  (1819,  Weimar),  and  Weber  (1820, 
Dresden).  In  1823,  Kapellm.  at  the  Karnth- 
nerthor  Th.,  Vienna,  and  1825  at  the  San 
Carlo  Th.,  Naples,  where  his  first  opera, 
Giacinta  ed  Ernesto  (1829),  was  performed, 
which,  like  /  Portoghesi  in  Goa  (Stuttgart, 
1830)  was  not  a  marked  success.  After  2 
visits  to  Paris  (1830  and  '35),  he  settled  in 
London,  where  he  became  a  fashionable  pf.- 
teacher  and  concert -giver,  and  also  thor- 
oughly anglicized.  1836,  conductor  of  opera 
buffa  at  the  Lyceum,  1837  at  Drury 
Lane,  where  his  first  English  opera, 
The  Gypsy's  Warning,  was  produced  (1838). 
In  1850  and  '51  he  was  conductor  to 
Jenny  Lind  on  her  American  tours;  then 
became  Col.  Mapleson's  conductor  at  Her 
Majesty '8  Th.  ana  Drury  Lane,  and  in  1859  at 
Covent  Garden;  also  of  the  Monday  Popular 
Concerts.  Healso  conducted  the  Norwich  Fes- 
tivals from  1845-78,  and  (1876-80)  the  Liver- 
pool Philharmonic.  He  was  knighted  in  1871. 


r~.m 


BENEDICT— BENNETT 


— Works:  The  operas  above  mentioned,  and 
also  The  Brides  of  Venice  (April  2,  1844),  The 
Crusaders  (1846),  The  Lake  of  Glenaston 
(1862),  The  Lily  of  Killarney  (1862;  on  the 
Continent  as  The  Rose  of  Erin),  The  Bride 
of  Sone  (1864);  4  cantatas,  Undine  (1860), 
Richard  Cwur-de-Lion  (1863),  1  on  the  Prince 
of  Wales'  return  from  India  (1876),  and  Gra- 
sieUa  (1882;  given  London,  1883,  as  an 
opera);  2  oratorios,  St.  Cecilia  (1866),  and 
St.  Peter  (1870);  2  symphonies  (1873,  74),  2 
pf.-concertos,  a  variety  of  pf.-music,  etc.  He 
also  wrote  biogr.  sketches  of  Mendelssohn 
and  Weber  (in  Hueffer's  'Great  Musicians'). 
Benedict,  Milo  Ellsworth,  b.  Cornwall, 
Vt.,  June  9,  1866.  Pf.-pupil  of  C.  Petersilea, 
in  theory  of  J.  K.  Paine;  in  Europe  1883-4, 
spending  3  mos.  at  Weimar  w.  Liszt.  Living 
as  pf  .-teacher  in  Boston.  Has  publ.  6  Corn- 
wall Dances,  op.  1;  other  pf. -works  in  MS. 

Benedic'tus  Ap'penzeldera  (B.  of  Ap- 
penzell),  b.  Appenzell,  Switzerland;  successor 
of  Jean  Gossins  as  master  of  the  boys1  choir 
in  the  'chapelle  royale'  at  Brussels,  1539-55. — 
Works:  1  book  of  4-part  motets,  Liber  primus 
eccl.  cantionum,  etc.  (Antwerp,  1553).  Not 
the  same  as  'Benedict us  Ducts'  [see  Ducis], 
whose  comps.  are  frequently  confounded  with 
the  Appenzeller's. 

Benelll,  Alemanno.     Pen-name  of  Er- 

COLB  BOTTRIGARI. 

Benelll,  Antonio  Peregrino,  b.  Forli, 
Romagna,  Sept.  5,  1771;  d.  Bornichau,  Sax- 
ony, Aug.  46,  1830.  In  1790,  first  tenor 
at  San  Carlo  Th.,  Naples;  in  London,  1798; 
at  Dresden,  1801-22,  when  his  voice  failed; 
then  teacher  of  sinking  at  the  R.  Theatre 
School,  Berlin;  dismissed  1829  on  account  of 
a  bitter  and  unjust  attack  on  his  bene- 
factor Spontini.  Publ.  a  Vocal  Method 
(Dresden,  1819);  considerable  vocal  music, 
and  Solfeggi;  and  a  few  pf. -pieces. — See 
Q.-Lex. 

Bene'voli,  Orazlo,  b.  Rome,  1602,  as  the 
natural  son  of  Duke  Albert  of  Lorraine;  d. 
there  June  17,  1672.  Pupil  of  V.  Ugolini; 
m.  di  capp.  of  several  Roman  churches,  and 
finally  at  the  Vatican  (1646).  Of  the  highest 
personal  character,  and  a  contrapuntist  of 
lofty  genius,  he  lived  and  died  in  poverty. 
His  polyphonic  vocal  works  (masses  in  12, 
16,  24  and  even  48  parts — the  mass  per- 
formed at  Sta.  Maria  sopra  Minerva,  Rome, 
in  1650,  is  for  12  choirs,  i.  e.,  48  real  parts- 
motets,  psalms  and  offertories  up  to  30  parts) 
are  the  culminating  point  of  the  polychoric 
a  cappella  style;  he  was  likewise  a  pioneer 
in  choral  comp.  with  obbligato  instrumental 
accomp.  (his  mass  for  the  consecration  of 
Salzburg  cathedral,  1628,  is  written  on  54 
staves).  Few  of  his  works  were  publ.;  most 
are  in  MS.  in  the  Vatican  libr.— See  Q.-Lex. 


73 


Beninco'ri,  Angelo  Maria,  b.  Brescia, 
March  28,  1779;  d.  Paris,  Dec.  30,  1821, 
Lived  in  Spain,  Italy  and  Vienna  till  1803, 
when  he  went  to  Paris,  and  brought  out  three 
unsuccessful  operas;  the  only  successful  one, 
Aladin  (Paris,  1822;  left  unfinished  by  Isou- 
ard,  for  which  B.  wrote  the  last  three  acts, 
and  a  march  for  the  first  act),  was  prod.  6 
weeks  after  his  death.  An  excellent  violinist, 
he  publ.  string-quartets  (op.  2,  3,  4,  5,  8)  and 
3  pf.- trios  (op.  6). 

Bennet,  Theodore.  See  Theodore 
Hitter. 

Bennett,  George  John,  b.  Andover, 
Hampshire,  May  5,  1863.  Won  the  Balfe 
scholarship,  and  studied  at  the  R.  A.  M. 
under  G.  A.  Macfarren  and  C.  Steggall 
(1878-84);  then  at  the  R.  Hochschule  in  Ber- 
lin with  H.  Barth  (pf.)  and  F.  Kiel  (comp.), 
and  from  1885-7  at  Munich  with  H.  Buss- 
meyer  (pf.)  and  J.  Rheinberger  (comp.); 
elected  F.  R.  A.  M.  and  app.  prof,  of  -harm, 
and  comp.  there  in  1888;  Mus.  Doc.,Cantab.f 
in  1893;  filled  several  positions  as  org.  from 
1890-5;  since  1895  org.  of  Lincoln  Cath.  and 
cond.  of  the  festivals;  also  cond.  of  Lincoln 
Mus.  Soc.  and  Orch.  Soc.;  F.  R.  C.  O.— 
Works :  2  overtures  for  orch.,  Jugendtraume  and 
Cymbeline;  Festival  Evening  Service  in  A  with 
orch.  (for  dedication  of  St.  Paul's  Cath., 
1890);  Mass  in  Bb  m.  for  soli,  ch.  and  orch.; 
Festival  Te  Deum  for  do.;  Easter  Hymn  for 
do.;  Suite  in  D  m.  for  orch.;  a  pf.-trio  in  E; 
pieces  for  pf.;  do.  for  org.;  songs;  part-songs; 
anthems;  etc. 

Bennett,  Joseph,  prominent  Engl.  mus. 
critic  and  writer;  b.  Berkeley,  Gloucestershire, 
Nov.  29,  1831;  d.  Purton,  n.  Berkeley,  June 
12,  1911.  He  learned  to  play  several  instru- 
ments; was  precentor  at  the  Weigh  House 
Chapel,  and  organist  of  Westminster  Chapel; 
then  mus.  critic  for  the  'Sunday  Times,'  Tall 
Mall  Gazette,'  and  'Graphic,'  also  contribut- 
ing to  several  other  mus.  journals.  His  most 
important  work  was  done  as  a  writer  on  the 
staff  of  the  'Musical  Times'  and  'Daily  Tele- 
graph.' He  edited  the  'Concordia'  1875H5, 
and  'The  Lute*  1883-6.  From  1885-1903  he 
annotated  the  programs  of  the  Philh.  Soc.; 
he  also  succeeded  J.  W.  Davison  as  writer  of 
the  analytical  programs  for  the  Saturday  and 
Monday  Popular  Concerts.  B.  has  furnished 
several  English  composers  with  some  of  their 
best  libretti. — Publ.  Letters  from  Bayreuth 
(1877);  The  Musical  Year  (1883);  History  of 
the  Leeds  Musical  Festivals,  1859-89  (1892; 
with  F.  R.  Spark);  and  Primers  of  mus! 
biography.  His  Story  of  Ten  Hundred  Con- 
certs (1887)  is  an  account  of  the  rise  of  the 
Sat.  Pop.  Concerts,  1857-87.  His  last  work 
was  Forty  Years  of  Music  (1908). 


BEN  N  ETT— BENOlT 


Ben'nett,  Sir  William  Sterndale,  distin- 
guished English  comp.;  b.  Sheffield,  April  13, 
1816;  d.  London,  Feb.  1,  1875.  His  father, 
an  organist,  died  when  B.  was  but  3  years 
old,  and  he  was  educated  by  his  grandfather, 
John  B.,  a  lay-clerk  at  Cambridge.  At  8  he 
entered  the  choir  of  King's  College  Chapel, 
and  at  10  the  R.  A.  M.  (pupil  of  Ch.  Lucas, 
Dr.  Crotch,  C.  Potter  and  W.  H.  Holmes), 
where  he  played,  in  1833,  an  original  pf.- 
concerto  in  D  m.,  publ.  later  by  the  Academy. 
In  1837  the  Broad  woods  sent  him  to  Leipzig 
for  one  year,  a  visit  repeated  in  1841-2;  he 
was  intimate  with  Schumann  and  Mendels- 
sohn, and  the  influence  of  both,  particularly 
the  latter,  is  reflected  in  some  of  his  comps. 
From  1843-56,  he  gave  a  series  of  chamber- 
concerts  in  England;  married  Mary  Anne 
Wood  in  1844;  founded  the  Bach  Society  in 
1849;  conducted  the  concerts  of  the  Philh. 
Society  1856-66,  and  the  Leeds  M  us.  Festival 
in  1858.  In  1856,  too,  he  received  the  title  of 
Mus.  Doc.-  from  Cambridge,  after  his  election 
to  the  chair  of  Musical  Professor  there.  In 
1866  he  was  chosen  Principal  of  the  R.  A.  M.f 
then  resigning  the  conductorship  of  the  Philh. 
The  additional  degree  of  M .  A.  was  conferred 
on  him  by  Cambridge  in  1867;  that  of  D.  C. 
L.,  by  Oxford,  in  1870;  and  in  1871  he  was 
knighted.  The  subscription-fund  of  the  Ben- 
nett testimonial  presented  him  at  St.  James1 
Flail,  1872,  was  converted  by  the  recipient 
into  a  scholarship  at  the  R.  A.  M.  He  is 
buried  in  Westminster  Abbey. — Sterndale 
Bennett  ranks  high  among  English  composers 
of  genuine  originality.  Himself  a  pianist  of 
rare  ability,  he  favors  the  piano  above  all, 
and  his  finest  productions  are,  so  to  speak,  in- 
spired by  its  peculiarities.  The  tale  of  nis  works 
is  scanty,  but  in  polish,  refinement  and  careful 
elaboration  they  vie  with  the  best  in  musical 
art. — Works:  Op.  1,  1st  pf. -concerto,  in  D  m. 
(1832);  op.  2,  Capriccio  for  pf.,  in  D;  op.  3, 
overture  Partsina,  for  orch,  (1834) ;  op.  4,  2nd 
pf. -concerto,  Eb;  op.  8,  sextet  for  pf.  and 
strings;  op.  9, 3rd  pf.-concerto,  in  C  m.  (1834) ; 
op.  10, 3  Mus.  Sketches  for  pf . ;  op.  1 1,  6  Studies 
for  pf.;  op.  12,  3  Impromptus  for  pf.;  op.  13, 
Sonata  f .  pf . ;  op.  14,  3  Romances  f .  pf . ;  op.  15, 
overture  The  Naiads,  for  orch.;  op.  16,  Fan- 
tasia for  pf.  (1842);  op.  17,  3  Diversions  f.  pf. 
4  hands;  op.  18,  Allegro  grazioso  for  pf.;  op. 
19,  4th  pf.-concerto,  m  F  m.  (1836);  op.  20, 
overture  The  Wood-nymphs,  for  orch,;  op.  22, 
Caprice  in  E,  for  pf .  and  orch. ;  op.  23,  6  songs 
with  pf.;  op.  24,  Suite  de  pieces  for  pf.  (1843); 
op.  25,  Rondo  piacevole  for  pf . ;  op.  26,  pf  .-trio 
(1844) ;  op.  27,  Scherzo  for  pf . ;  op.  28,  Rondino 
f .  pf . ;  op.  29,  2  Studies  f .  pf . ;  op.  30,  4  sacred 
duets;  op.  31,  Tema  e  variazioni  for  pf.;  op. 

32,  Sonata- Duo  for  pf.  and  'cello  (1852);  op. 

33,  60  Preludes  and  Lessons  for  pf.;  op.  34, 
Rondo  for  pf.;  op.  35,  6  songs  w.  pf.;  op.  36, 


Flowers  of  the  Months;  op.  37,  Rondo  d  la 
polonaise,  for  pf.;  op.  38,  Toccata  for  pf.;  op. 
39,  The  May  Queen,  a  Pastoral  (cantata  by 
Charley),  for  soli,  ch.  and  orch.  (Leeds,  1858) ; 
op.  40,  Ode  (by  Tennyson) ;  op.  41,  Cambridge 
Installation  Ode  (1862) ;  op.  42,  Fantasie-Over- 
ture,  Paradise  and  the  Peri,  for  orch.  (1863) ; 
op.  43,  symphony  in  G  m.;  op.  44,  oratorio 
The  Woman  of  Samaria  (Birmingham,  1867); 
op.  45,  music  to  Sophocles'  Ajax;  op.  46,  pf.- 
sonata  The  Maid  of  Orleans.  Also,  overtures 
The  Merry  Wives  of  Windsor  and  Marie  du 
Bois;  a  pf. -quintet,  with  wind;  pf. -music, 
part-songs,  anthems,  songs,  and  collections  of 
chants.—Cf.  J.  R.  S.  Bennett,  The  Life  of 
W.  St.  B.  (Cambridge,  1907);  The  Musical 
Times'  from  May  to  August,  1903,  contains 
an  interesting  series  of  articles  on  B.;  also 
see  F.  Corder,  W.  S.  B.  and  His  Music  (in 
'Mus.  Times,'  May,  1916). 

Ben'newitz,  Anton,  b.  Privret,  Bohemia, 
March  26,  1833.  Violinist;  from  1882-1901 
Director  of  Prague  Cons. 

Benoist  [bu-nwah'],  Francois,  b.  Nantes, 
Sept.  10,  1794;  d.  Paris,  April,  1878.  Pupil 
of  Paris  Cons.,  1811-15,  and  Grand  Prix  de 
Rome;  returning  from  Italy  in  1819,  he 
became  organist  of  the  Chapel  Royal,  and 
organ-prof,  at  the  Cons.;  in  1840,  'chef  du 
chant'  at  the  Opera;  pensioned  in  1872. — 
Works:  2  operas,  LSonore  et  Filix  (1821)  and 
V Apparition  (1848);  4  ballets,  La  Gipsy 
(1839),  Le  Viable  amoureux  (1840),  Nistda, 
ou  les  Amazons  des  Acores  (1848),  and  Pd- 
querette  (1851);  a  Requiem  mass  for  3  men's 
voices  and  a  child's  voice,  with  organ  ad  lib. ; 
and  12  books  of  organ-works,  'Bibliotheque 
de  1' organ  iste.' 

Benott  [bu-nwah'J,  Pierre-Le<mard-Leo- 
pold,  eminent  Flemish  composer  and  man  of 
letters;  b.  Harlebeke,  Belgium,  Aug.  17, 
1834;  d.  Antwerp,  March  8,  1901.  While 
studying  in  the  Brussels  Cons.,  1851-55,  he 
prod,  a  small  opera  in  the  Parktheater,  and 
wrote  the  music  to  a  number  of  Flemish 
melodramas;  he  became  cond.  of  the  above 
theatre  in  1856,  and  won  the  Prix  de  Rome 
in  1857  with  his  cantata  Le  Meurtre  d'Abd. 
He  now  studied  in  Leipzig,  Dresden,  Munich 
and  Berlin,  and  sent  an  essay  to  the  Brussels 
Academy  on  L'ecole  de  musique  flamande  et 
son  avenir.  In  1861  the  Theatre-Lyrique  of 
Paris  accepted  his  opera  Le  Rot  des  aulnes; 
while  awaiting  its  performance,  B.  acted  as 
cond.  at  the  Bou  fifes- Parisiens;  but  the  opera 
was  not  given.  In  1867  he  founded  the 
Flemish  Music-School  at  Antwerp,  which  in 
1899  was  instituted  the  Royal  Flemish  Cons., 
B.  remaining  as  its  director.  The  goal  of  his 
life-work  was  to  create  a  national  Flemish 
school  of  musical  composition;  but  the^  ten- 
dency of  his  compositions  is  strongly  influ- 


74 


BENSON— BERCHEM 


enced  by  modern  French  and  German  music. 
— Works:  Messe  solenneUe  (1862);  Te  Deum 
(1863);  Requiem  (1863);  the  Flemish  oratorio 
Lucifer  (1866) ;  the  3  Flemish  operas  Het  dorp 
in'tgebergte  and  Isa  (1867),  Pompeja  (1896); 
oratorio,  De  Schelde  (1869);  Drama  Christi,  a 
sacred  drama  for  soli,  ch.,  org.,  'celli,  double- 
basses,  trumpets  and  trombones  (1871);  De 
Oorlog  (War;  a  cantata  for  double  ch.,  soli, 
and  enlarged  orch.,  1873);  a  'Children's  Ora- 
torio'; a  choral  symphony,  De  Maaiers  [The 
Mowers];  music  to  Charlotte  Corday,  and  to 
van  Goethem's  drama  WiUem  de  Zvrijger 
(1876);  the  'Rubens  cantata*  Flanderens 
kunstroem,  for  mixed  ch.,  children's  ch.,  and 
orch.  (1877);  Anhuerpen,  for  triple  male  ch. 
(1877) ;  Joncfrou  Kathelijne,  scena  for  alto  solo 
and  orch.  (1879);  Muse  der  Geschiedenis,  for 
ch.  and  orch.  (1880);  Hucbald,  for  double  ch., 
baritone  solo,  and  orch.  with  harp  (1880); 
Triomfmarsch  (1880);  oratorio  De  Khijn,  for 
soli,  ch.  and  orch.  (1889);  a  mass;  motets 
with  organ;  Liefde  in't  leven  and  Liefdedrama, 
songs;  Sagen  en  Balladen,  for  pf-;  a  pf. -con- 
certo; a  flute-concerto,  etc. — Writings:  De 
vlaamsche  Muziekschool  van  Antwerpen  (1873) ; 
Considerations  d  propos  d'un  projet  pour  Vin- 
stitution  de  Festivals  en  Belgique  (1874);  Ver- 
handeling  over  de  nationale  Toonkunde  (2 
vols.,  1877-9);  De  muzikale  Opooeding  en 
Opleiding  in  Belgie  (no  date) ;  Het  droombeeld 
eener  muzikale  Wereldkunst  (no  date);  De 
Oorsprong  van  het  Cosmopolitisme  in  die  Mu- 
ziek  (1876);  Overschijn  en  blijk  in  onze  mu- 
zikale vlaamsche  beweging  (no  date);  Onze 
muzikale  beweging  op  dramatisch  gebted  (no 
date);  Onze  nederlandsche  muzikale  eenheid 
(no  date);  Brieven  over  Noord-Nederland  (no 
date) ;  Een  koninklijk  vlaamsch  Conservatorium 
te  Anhuerpen^  (no  aate);  and  many  contribu- 
tions to  musical  and  other  journals.  In  1880 
B.  became  corresponding  member,  and  "in 
1882  full  member,  of  the  Royal  Academy, 
Brussels. — Cf.  M.  E.  Belpaire,  Een  vlaamsche 
meester:  P.  B.  (Belfort,  1901);  C.  Stoffels, 
P.  B.  et  le  mouvement  musical  flamand  (Ant- 
werp, 1901);  J.  Sabbe,  P.  B. :  Zijn  leven, 
zijne  werken,  zijne  beteekenis  (Ghent,  1902); 
L.  Mortelmans,  P.  B.  (Antwerp,  1911). 

Benson,  Harry,  b.  Birmingham,  England, 
Dec.  14,  1848;  pupil  of  A.  Deakin  there,  of 
Geo.  A.  Browning  in  Bath,  and  of  G.  A. 
Whiting  and  St.  A.  Emery  at  N.  E.  Cons., 
Boston,  Mass.  For  some  years  instructor  in 
N.  E.  Cons.;  since  1891,  head  of  vocal  dept. 
in  Boston  Training  School  of  Music.  B.  is 
teacher  and  examiner  for  the' Tonic  Sol-fa 
Colleges  of  London  and  America,  and  an 
active  promoter  of  Tonic  Sol-fa  in  the  U.  S. 
Has  also  been  organist,  etc.,  at  various  Bos- 
ton churches.  He  is  widely  and  favorably 
known  as  a  conductor  and  founder  of  choral 
societies  and  conventions. 


75 


Benvenu'ti,  Tommaso,  dramatic  com  p.; 
b.  Cavarzese  (Venice),  Feb.  4,  1838;  d.  Rome, 
in  March,  1906.  Operas:  Valenzia  Candiano 
(Mantua,  1856),  Adriana  Lecouvreur  (Milan, 
1857),  Guglielmo  Shakespeare  (Parma,  1861), 
La  Stella  di  Toledo  (Milan,  1864),  //  Folconi- 
ere  (Venice,  1878),  Beatrice  di  Suevia  (Ven- 
ice, 1890),  and  the  opera  buff  a  Le  baruffe 
Chiozzotle  (Florence,  1895;  moderate  succj. 

Berar/di,  Angelo,  b.  Sant'Agata,  Bologna; 
1681,  prof,  of  comp.  and  m.  di  capp.  at  Spo- 
leto;  1687,  canon  at  Viterbo;  1693,  m.  di 
capp.  at  the  Basilica  of  S.  Maria  in  Traste- 
vere.  An  eminent  theorist;  works  published 
1681-1706  at  Bologna.    He  composed  a  Re- 

?uiem   Mass   (1663),  2-  and  4-part  motets 
1665),  psalms  (1675),  offertories  (1680);  etc. 

Berat  [ba-rahl,  Frederic,  b.  Rouen,  1800; 
d.  Paris,  Dec.  2, 1855.  Vocal  comp.,  intimate 
with  Beraneer,  many  of  whose  poems  he  set 
to  music.  His  romances  and  cnansonnettcs 
are  still  popular:  A  lafrontiere,  Bibi,  LaLiseUe 
de  Beranger,  Le  Depart,  Ma  Normandie,  etc. 

Berber  [bar'-J,  Felix,  notable  violin-virtu- 
oso, b.  Jena,  March  11,  1871,  received  his 
first  regular  instruction  at  the  Dresden  Cons.; 
studied  1884-9  with  Adolf  Brodsky  at  Leip- 
zig; lived  then  2  years  in  London;  Concertm. 
at  Magdeburg  1891-6.  From  1897  to  April 
1,  1903,  he  was  Concertm.  of  the  Leipzig  Ge- 
wandhaus  Orch.  and  leader  of  the  Gewandh. 
Quartet.  With  Klengel  he  won  a  final  tri- 
umph for  the  Brahms  double-concerto  in 
Vienna,  Leipzig,  etc.;  in  Berlin  he  played  9 
different  concertos  in  3  consecutive  concerts. 
In  Feb.,  1904,  he  was  eng.  by  the  R.  Acad,  of 
Music  as  principal  instructor  for  violin 
and  quartet-playing.  In  1907  he  succeeded 
Heermann  at  the  Hoch  Cons.,  Frankfort; 
in  1908,  teacher  in  the  Geneva  Cons, 
(following  Marteau),  and  leader  of  a  string- 
quartet;  since  1912  living  in  Munich  aspriv. 
teacher.  In  1910  he  made  a  tour  of  the  U.  S. 
His  technique  is  described  as  'astounding/ 
'amazing,'  'dazzling';  his  instr.  is  a  Strad. 

Berbiguier  [-be-g'ya'L  Benott-Tranquille, 

b.  Caderousse,  Vaucluse,  Dec.  21,  1782;  d. 
Pont-Levoy,  near  Blois,  Jan.  20,  1838.  Flute- 
virtuoso;  pupil  of  Wunderlich  at  Paris  Cons. 
His  works  for  flute,  many  of  which  are  clas- 
sics, include  15  books  of  duos  f.  2  flutes;  2 
do.  do.  f.  flute  and  vln.;  6  gr.  solos  or  etudes; 
10  concertos;  7  books  of  sonatas,  with  ace.  of 
'cello  or  via.;  8  variations,  with  pf.  or  orch.; 
6  airs  and  vars.;  6  books  of  trios  f.  3  flutes; 
1  do.  f.  2  flutes  and  via.;  1  do.  f.  flute.,  vln. 
and  via.;  several  suites  of  easy  duos;  grand 
duo  concertant  f.  flute  and  pf.;  fantasias, 
romances,  arrangements,  etc. 

Berchem  [bar'-yhem]  (or  Berfthem),  Ja- 
chet  de  (also  Jaquet.  Jacquet),  b.  Berchem 


BERENS— BERGER 


(?),  near  Antwerp,  circa  1500;  famous  contra- 
puntist, organist  to  the  Duke  of  Ferrara  in 
1555.  Publ.  many  masses,  motets,  madri- 
gals, etc.  He  has  frequently  been  confused 
with  his  contemporary  Jachet  de  Mantua 
(q.  v.). — See  Q.-Lex. 

Be  Vena,  Hermann,  b.  Hamburg,  Apr.  7, 
1826;  d.  Stockholm,  May  9,  1880.    Excellent 

ftianist,  pupil  of  his  father  Karl  B. 
1801-57],  of  Reissiger  (Dresden)  and 
Czerny.  Went  to  Stockholm  in  1847,  and 
founded  celebrated  Quartet  Soirees;  1849, 
Royal  mus.  director  at  Orebro;  1860,  cond. 
at  the  'Mindre'  Th.,  Stockholm;  later  court- 
conductor,  teacher  of  comp.  at  the  Academy, 
and  prof,  and  member  of  ditto. — Works:  The 
Greek  drama  Kodros;  1  opera,  Violctta,  and  3 
successful  operettas,  Ein  Sommernachtstraum, 
Lully  und  Quinault,  Riccardo;  overtures  for 
orch.,  quartets,  trios,  pf. -pieces,  songs  and 
part-songs,  and  a  valuable  Neueste  SchuU 
der  Geldufigkeit  for  pf. 

Beret'ta,  Giovanni  Battlsta,  b.  Verona, 
Feb.  24,  1819;  d.  Milan,  April  28,  1876.  For 
several  years  director  of  Bologna  Cons. ;  then 
devoted  himself  to  completing  the  great  'Di- 
zionario  artistico-scientinco-storico-technolo- 
gico-musicale'  begun  by  A.  Barbicri  (publ. 
Milan,  1869-72),  but  reached  only  the  letter 
G.  He  also  wrote  a  treatise  on  harmony,  and 
another  on  instrumentation  and  orchestra- 
tion; he  comp.  instrumental  and  sacred  music. 

Berg,  Adam,  music-printer  at  Munich, 
1567-97;  publ.  the  Patrocinium  musicum  in 
10  vols.,  5  being  devoted  to  Or  land  us  Lassus. 

Berg,  Johann  von,  music-printer  of 
Ghent;  settled  in  Nuremberg,  and  became 
Ulrich  Neuber's  partner.     He  died  in  1563. 

Berg,  Konrad  Mathiaa,  b.  Kolmar,  Alsa- 
tia,  April  27,  1785;  d.  Strassburg,  Dec.  13. 
1852.  Violinist  and  pianist;  pupil  of  Pans 
Cons.  1806-7;  settled  as  pf  .-teacher  in  Strass- 
burg, 1808. — Works:  4  string-quartets;  10 
pf. -trios;  3  concertos;  sonatas,  variations  and 
effective  4-hand  pieces  f.  pf.  His  essay  Ideen 
mu  einer  rationetlen  Lehrmethode  der  Musik 
mil  Anwendung  auf  das  Klavier spiel  ('Cacilia,' 
vol.  xvii,  1835),  created  a  sensation;  also  an 
Aperqu  historique  sur  Vttal  de  la  musique  & 
Strasbourg  pendant  Us  50  dernieres  annees 
(1840). 

Ber'ger,  Francesco,  b.  London,  June  10, 
1834;  pupil  of  Luigi  Ricci  (Trieste)  for  har- 
mony, and  of  Karl  Lickl  (Vienna)  for  pf.; 
later  private  pupil  of  Hauptmann  and  Plaidy 
(Leipzig).  Prof,  of  pf.  at  R.  A.  M.  and  Guild- 
hall School  of  Music;  freauent  concert-tours 
through  Great  Britain  and  Ireland ;  for  some 
years  director,  and  from  1884-1911  hon. 
secretary,  of  the  Philharmonic. — Works:  An 
opera,  11  Lazsarone,  and  a  mass  (prod,  in 


Italy);  overtures  and  incidental  music  to 
Wilkie  Collins;  The  Frozen  Deep  and  The 
Lighthouse;  songs;  many  part-songs  and  pf.- 
pieces.  Wrote  First  Steps  at  the  Pianoforte; 
also  publ.  a  volume  of  Reminiscences  (1913). 

Ber'ger  [bar'-],  Ludwlg,  b.  Berlin,  Apr.  18, 
1777;  d.  there  Feb.  16,  1839.  Studied  harm, 
and  cpt.  under  J.  A.  Gttrrlich  (Berlin,  1799) 
and  pf.  under  Clementi  (Petrograd,  1804), 
being  also  strongly  influenced  by  Field's 
playing.  Went  to  Stockholm  in  1812,  and 
thence  to  London,  rejoining  Clementi  and 
meeting  Cramer.  From  1815,  settled  in  Ber- 
lin as  a  pf. -teacher;  among  his  pupils  were 
Mendelssohn,  Henselt,  Taubert  and  Fanny 
Hensel.  With  Klein,  Reichardt  and  Rellstab 
he  founded  the  junior  'Liedertafel'  (1819). 
His  pf. -works,  especially  the  Studies,  a  Toc- 
cata, and  a  Rondo,  are  highly  esteemed;  he 
also  composed  the  opera  Oreste  (not  per- 
formed), cantatas,  male  quartets,  songs,  etc 
A  full  and  sympathetic  account  of  his  career 
wa9  publ.  by  L.  Rellstab  in  the  'Berlinisch* 
Zeitung'  of  Feb.  12,  1839  (reprint  1846).— 
See  Q.-Lex. 

Ber'ger,  Rudolf,  a  dram,  tenor;  b.  Brtinn, 
Moravia,  April  17,  1874;  d.  N.  Y.,  Feb.  27, 
1915.  Began  his  vocal  studies  at  the  Cons, 
in  Brunn,  in  1891,  and  made  debut  there  (as 
baritone)  in  1896;  sane  bar.  rSles  successfully 
at  various  German  theatres;  1904-7  at  R. 
Op.,  Berlin.  He  then  retired  for  a  year, 
studying  with  O.  Saenger  in  N.  Y.,  changing 
to  tenor;  reappeared  in  1909  in  Berlin  as 
Lohengrin,  and  sanz  tenor  r61es  (chiefly 
Wagner)  thereafter;  1914-5,  member  M.  O. 
H.  In  1913  he  married  the  dram,  soprano, 
Marie  Rappold.  B.'s  stage  presence  was  un- 
usually impressive  (he  stood  6  ft.,  4  in.,  and 
was  well  proportioned),  but  his  acting  did 
not  rise  above  the  conventional.  He  had  an 
enormous  repertoire,  consisting  of  96  baritone 
and  18  tenor  roles;  he  had  sung  Jokanaan,  in 
Salome,  79  times. 

Ber'ger,  Siegfried.  Pseudonym  for  Che- 
Li  us,  Freiherr  von. 

Ber'ger,  Wilhelm,  composer;  b.  Boston, 
Mass.,  Aug.  9,  1861;  d.  Jena,  Jan.  15,  1911. 
Taken  by  parents  in  1862  to  Bremen.  Studied 
in  the  Konigl.  Hochschule  fur  Musik  at  Ber- 
lin, 1878-81  (Fr.  Kiel).  Teacher  in  the  Klind- 
worth-Scharwenka  Cons,  at  Berlin  till  1903; 
then  succeeded  Steinbach  as  court  Kapellm. 
at  Meiningen,  also  becoming  R.  Prussian 
Prof.,  and  member  of  the  R.  Acad,  of  Arts. 
— Works:  2  symphonies  (op.  71  in  Bb, 
and  op.  80  in  B  m.);  Euphorion,  for  soli,  ch. 
and  orch.;  Variations  and  Fugue  for  orch.; 
3  Ballades  for  baritone  with  orch.;  Gesang  der 
Geister  iiber  den  Wassern,  for  4-part  mixed 
ch.  and  full  orch.  (op.  55);  a  Dram.  Fantasy 
in  overture-form;   var.  and  fugue   f.  orch.' 


76 


BERGGREEN— BERINGER 


also  part-songs,  about  80  songs,  and  pf.- 
music:  Op.  2,  5  pieces;  op.  4  and  7,  2  pieces 
for  vln.  and  of,;  op.  6,  Impromptus;  op.  9, 
2  KlavierstUcie;  op.  14,  3  Klavierstucke;  op. 
17,  5  KlavierstUcke  in  Tanzform;  op.  18,  4 
Intermezzi;  op.  20,  Fantasies  tuck;  op.  21,  pf.- 
quartet,  in  A;  op.  23,  12  Aquarellen;  op.  53, 
o  Klavierstucke;  etc.  In  1898  he  won  a  prize 
of  2,000  marks;  offered  by  Dr.  Simon  of 
Konigsberg,  with  his  setting  of  Goethe's 
Meine  Gottin  (op.  72). — Biography  by  Adolf 
Kohut  was  publ.  in  the  'Neue  Musikzeitung' 
(Stuttgart,  1902,  Nos.  21-3).  Cf.  also  E. 
Krause,  W.  B.,  in  vol.  ii  of  'Monographien 
moderner  Musiker'  (Leipzig,  1907). 

Berg'green   [-gran],   Andreas   Peter,  b. 

Copenhagen,  March  2,  1801;  d.  there  Nov.  9, 
1880.  Originally  a  law-student,  he  turned  to 
music;  1838,  organist  of  Trinity  Church; 
1843,  prof,  of  vocal  music  at  the  Metropolitan 
School;  and  1859,  inspector  of  singing  in  all 
public  schools. — Works:  Comic  opera  Billedet 
og  bustan  (Portrait  and  Bust]  (1832);  inci- 
dental music  to  several  of  Ohlenschlagcr's 
dramas;  songs  and  pf. -pieces.  He  edited  a 
coll.  of  folk-songs  of  various  nations  (Folke- 
visor,  Folkesange  og  Melodier,  1 1  vols. ;  2d  cd. 
1864).— Biogr.  by  Skou  (1896).— He  was  one 
of  Gade's  teachers. 

Berfth,  Arthur,  b.  St.  Paul,  Minn.,  Mar. 
24,  1882.  Educated  in  America;  violinist 
with  N.  Y.  Syraph.  Orch.  and  M.  O.  H. 
orch.  (1903-8);  cond.  Municipal  Concerts, 
N.  Y.  City  (1911-14);  lecturer  on  American 
music;  Seer.  Amer.  Mus.  Soc. — Works:  The 
Raven,  melodrama  with  orch.  (1909);  The 
Pied  Piper  of  Hamelin,  do. ;  The  Unnamed 
City,  symphonic  choral;  Niorada,  romantic 
opera;  Festival  March  for  orch.;  some  pieces 
for  pf.;  and  about  30  songs  (The  Night-Rider 
with  orchestral  accompaniment). 

Berghem,  Jachet  de.    See  Berchkm. 

Berg'mann,  Karl,  b.  Ebersbach,  Sax- 
ony, 1821;  d.  New  York,  Aug.  16,  1876; 
studied  under  Zimmermann  in  Zittau,  and 
Hesse  in  Breslau.  Went  to  America  1850 
with  the  travelling  'Germania'  Orch.,  and  was 
later  its  cond.  until  its  dissolution  (1854); 
also  of  the  Handel  and  Haydn  Soc.,  1852-4. 
In  1855,  entered  Philh.  Orch.,  N.  Y.,  cond. 
the  concerts  alternately  with  Th.  Eisfeld  till 
1862,  then  sole  cond.  until  his  death.  Also 
conducted  the  Germ,  male  chorus  'Arion'  for 
several  years.  B.  was  an  eminent  conductor, 
a  good  pianist  and  'cellist;  an  ardent  admirer 
of  Wagner,  Liszt,  etc.,  he  rendered  important 
services  to  the  cause  of  music  in  America  by 
introducing  their  works. 

Ber&'ner,  Wilhelm,  b.  Riga,  Nov.  4, 
1837;  d.  there  June  9,  1907.  1861,  organist 
of  the  English  church  at  Riga;  1868-1906,  of 


77 


Riga  cathedral.  He  founded  a  Bach  Society, 
and  a  cathedral -choir,  and  was  a  zealous 
promoter  of  music  in  Riga;  he  brought  about 
the  first  production  of  Rubinstein's  sacred 
opera  Moses  (Feb.  20,  1894),  and  procured 
the  building  of  the  great  organ  in  the  cathe- 
dral by  Walcker  (1882-3). 

Bergon'zl,  Carlo,  from  circa  1716-47 
violin-maker  at  Cremona;  Stradivari's  best 
pupil.  His  son,  Michelangelo,  and  his  2 
nephews,  Niccolo  and  Carlo  Bergonzi,  were 

of  minor  importance. 

• 

Berg'son,    Michael,    b.    Warsaw,    May, 

1820;  d.  London,  March  9,   1898.     Pianist 

and  comp.;  pupil  of  Schneider  (Dessau),  and 

Rungenhagen  and  Taubert  (Berlin)*.     Went 

to  Paris  (1840),  and  to  Italy  in  1846,  where 

his  opera  Luisa  di  Montfort  was  successfully 

prod.  (Florence,  1847).  After  living  in  Vienna 

(1850-3),   Berlin  and   Leipzig,   he  revisited 

Paris,    and    brought   out   a    1-act   operetta 

Qui  va  a,  la  chasse,  perd  sa  place  (1859).    In 

1863,  1st  pf. -teacher  in,  and  in  a  short  time 

director  ot,  Geneva  Cons.;  went  to  London 

in  a  few  years,  and  lived  there  as  a  private 

teacher.-— Works:  For  pf.,  12  Grandes  Etudes, 

op.  62;  Ecole  du  mecanisme,  op.  65;  Concerto 

symphonique  in  E  m.;  Trio,  op.  5;  Polonaise 

heroique,   op.   72;    Sonata   with   flute;    Duo 

dramatique  for  pf.  and  flute;  duos  for  pf.  and 

vln.;  Mazurkas,  Fantasias,  etc. 

Bergt,  Christian  Gottlob  August,  cele- 
brated teacher,  composer  and  organist;  b. 
Oderan,  Saxony,  Tune  17,  1772;  d.  Bautzen, 
Feb.  10,  1837,  where  he  was  organist  from 
1802,  also  music-teacher  at  the  Seminary  and 
conductor  of  the  singing  society. — His  sacred 
music  (a  Passion-Oratorio,  op.  10;  the  hymns 
So  weit  der  Sonne  Strahlen.  op.  17,  and 
Christus  ist  erstanden,  op.  18,  tor  4  voices  and 
orch. ;  a  Te  Deum;  the  canticle  Herr  Gott,  dich 
loben  wir,  reset;  etc.),  is  well  known  through- 
out Germany;  he  also  wrote  6  operas,  several 
symphonies,  sonatas  for  pf.  ana  violin,  etc.; 
a  set  of  Lieder,  Conge,  also  became  very 
popular.  His  book  Brief wechsel  tines  alien 
und  jungen  Schulmeisters  (1838)  contains  a 
biographical-  sketch. — See  Q.-Lex. 

Be'ringer,  Oscar,  b.  Furtwangcn,  Baden, 
July  14,  1844;  brought  up  in  London.  Pupil 
of  Leipzig  Cons.  (Plaidy,  Moscheles,  Reine- 
cke)  1864-6;  later,  at  Berlin,  of  Tausig,  Ehr- 
lich,  and  Weitzmann.  He  became  prof,  in  the 
'Schulc  des  hoheren  Klavierspiels'  at  Berlin  in 
1869;  returned  to  London  in  1871,  and  in 
1873  established  a  similar  institution  there: — 
'Acad,  for  the  Higher  Development  of  Pf.- 
playing'  (closed  in  1897).  Since  1885,  pf.- 
prof.  in  R.  A.  M.  He  is  a  pianist  of  great 
perfection  of  method,  and  his  book  of  Tech- 
nical Exercises  is  valuable;  he  has  published  2 


BERINGER— BERLIOZ 


sonatinas  and  other  pf. -pieces;  some  songs; 
also  Fifty  Years*  Experience  of  Pianoforte 
Teaching  and  Playing  (1907). 

Be'ringer,  Robert,  brother  of  preceding, 
b.Furtwangen,  June  14, 1841.  Has pven  many 
concerts  in  London  and  the  provinces;  from 
1861,  pianist  at  the  Crystal  Palace;  cond.  of 
choral  societies,  and  lecturer  on  music.  Has 
written  pf. -music,  orchestral  pes.,  songs,  etc. 

Blrior.  [ba-re-oh'],  Charles (-Auguste)  de, 
famous  violinist ;  b.  Louvain,  Feb.  20,  1802 ;  d. 
there  April  8,  1870.  Though  sometimes  called 
the  pupil  of  Viotti  and  Baillot,  he  owed  his 
technical  foundation  to  the  careful  instruction 
of  his  guardian,  Tiby ,  a  provincial  teacher.  At 
9  he  played  a  concerto  by  Viotti  in  public; 
and  his  later  wonderful  development  was  due 
to  his  native  musical  talent  and  individuality. 
He  went  to  Paris  in  1821;  made  a  triumphant 
debut  there;  became  chamber-violinist  to  the 
King  of  France;  played  successfully  in  many 
concerts  in  England;  was  app.  solo  violinist 
to  the  King  of  the  Netherlands  (1826-30) ;  lost 
position  and  salary  through  the  Revolution, 
and  from  1830-5  made  concert-tours  through 
Europe,  many  with  Mme.  Garcia-Mali- 
bran,  whom  he  married  in  1836.  After  her 
death  in  Sept.,  de  B.  did  not  appear  in  public 
until  1840,  on  a  tour  in  Germany.  From 
1843-52  he  was  prof,  of  vln.  at  Brussels 
Cons.  ;•  failure  of  eyesight,  and  paralysis  of 
left  arm,  necessitated  his  retirement. — He 
publ.  7  vln. -concertos;  4  pf. -trios;  several 
duos  brillants  for  pf.  and  vln.;  11  sets  of 
variations  for  vln.;  also  Premier  Guide  des 
violonisUs;  MSthode  de  VioUm  (3  parts;  Paris, 
1858;  his  best  work);  many  studies  for  vln.; 
etc. — Cf.  No.  VI  of  'De  hdiculis  opuscula' 
(1894)  by  Edward  Heron-Allen:  A  Contribu- 
tion towards  an  Accurate  Biography  of  De 
Beriot  and  Malibran. 

Beriot,  Charles- Wilf ride  de,  son  of  pre- 
ceding; b.  Paris,  Feb.  12,  1833;  d. 
Sceaux  du  Gatinais,  Oct.  22,  1914.  Pianist, 
pupil  of  Thalbcrg  (1855).  Prof,  of  pf.  at 
Paris  Cons. — Works:  Symphonic  poem  Fer- 
nand  Cortez;  overtures;  3  pf. -concertos; 
Operas  sans  paroles  for  pf.  and  vln.;  a  Fan- 
taisie-Ballet  for  vln.;  a  septet;  2  pf. -quartets; 
a  pf.-trio;  sonata  for  pf.  and  flute;  about  60 
comps.  for  pf . ;  songs,  etc.  With  his  father  he 
wrote  a  Methode  d'accompagnement. 

Berlljn  [-lln']  (or  Berlyn),  Anton  (or 
Aron  Wolf  [?]),  b.  Amsterdam,  May  2,  1817; 
d.  there  Jan.  16,  1870.  Pupil  of  L.  Erk  and 
B.  Koch;  also  of  G.  W.  Fink  at  Leipzig.  For 
years  he  was  conductor  of  the  Royal  Th., 
Amsterdam.  He  wrote  9  operas;  7  ballets; 
an  oratorio,  Moses  auf  Nebo;  a  symph.  can- 
tata; a  mass;  symphonies,  overtures,  cham- 
ber-music, etc. 


Berlioz    [bar-le-ohz],    Hector(-Louis),    a 

composer  of  such  marked  and  powerful  indi- 
viduality and  wide-spread  influence  that  he 
has  been  called  the  'father  of  [ultra-]  modern 
orchestration,'  was  born  at  Cdte-Saint- Andre, 
near  Grenoble,   France,   Dec.   11,    1803;  d. 
Paris,  March  8,  1869.     His  father,  a  physi- 
cian, sent  him  to  Paris  to  study  ^  medicine 
under  Amussat;  carried  away  by  his  passion 
for  music,  however  (although  the  flageolet 
and  guitar  were  the  only  instrs.  he  could  play), 
he  forsook  his  medical  studies  in  defiance  of 
parental  authority  and  a  cutting-off  of  his 
allowance.     Entering  the  Conservatory,  he 
managed  to  subsist  by  joining  the  chorus  of 
the    'Gymnase    dramatique';    impatient    of 
Reicha's  formal   system  of  instruction,   he 
soon  left  the  Cons.,  determined  to  follow  his 
own  bent.     Fired  by  the  revolt  of  the  new 
'romantic'   school  against  the  sway  of  the 
'classics,'  B.  devoted  himself  heart  and  soul 
to  the  former  cause.    His  first  essay  in  compo- 
sition, an  orchestral  Mass  given  at  St.-Roch 
in  1825,  was  unintelligible  both  to  executants 
and  hearers,  and  made  him  an  object  of  ridi- 
cule; still,  nothing  daunted,  he  persevered  in 
his  chosen  path,  which  led  straight  to  the 
realm  of  the  most  outspoken  and  elaborate 
program-music.    His  next  works  (1828)  were 
two    overtures,    Waverly    and    Les    Francs- 
Juges,    and    a     'symphonie    phantastique,' 
ftpisode  de  la  vie  d'un  artiste.    To  these,  and 
other  less-known  pieces,  he  added,  at  a  con- 
cert in  1829,  a  composition  entitled  Concerts 
des  Sylf>hesf  with  the  following  printed  pro- 
gram:   Mephistopheles,  to  excite  in  Faust's 
soul  the  love  of  pleasure,  convokes  the  spirits 
of  the  air,  and  bids  them  sing;  after  preluding 
on  their  magic  instrs.,  they  describe  an  en- 
chanted land,  whose  happy  inhabitants  arc 
intoxicated  with  ever-renewed  voluptuous  de- 
lights; little  by  little  the  charm  takes  effect, 
the  voices  of  the  sylphs  die  away,  and  Faust 
falls  asleep  to  dream  delicious  dreams.'     It 
shows  how  far  B.  had  already  travelled,  at 
the  age  of  25,  in  this  direction.    In  1826,  to 
obtain  'protection'  in  his  efforts  to  compete 
for  the  great  prizes.,  he  had  reentered  the 
Cons.,  taking  a  course  in  free  composition 
with  Lesueur.     Cherubini  long  opposed  his 
admission   to   the  annual   competitions;   at 
length,  in  1830,  he  bore  off  the  Grand  prix 
de  Rome  with  a  cantata,  Sardanapale.   From 
his  sojourn  of  18  months  in  Rome  and  Naples, 
he  brought  back  the  overture  to  King  Lear, 
and  a  sequel  to  the  'symphonic  fantastique' — 
Lelio,  ou  le  retour  &  la  vie.    By  brilliant  jour- 
nalistic work  in  the  'Journal  des  Debats,'  the 
'Gazette    musicalc,'    etc.,    he    increased    his 
prominence,  and  became  a  power  in  musical 
Paris.     And   now  his  symphony  Harold  en 
Italic  (1834),  the  Messe  des  morts  (1837),  the 
dramatic  symphony  RonUo  et  Juliette,  with 


78 


BERLIOZ 


vocal    soli    and    chorus     (1839),    and    the 
Carnaval  romain  were  received   with   paeans 
of  praise  in  the   press;  though   the  attitude 
of    the    public  was    more    reserved.      But 
his    first     dramatic     attempt,     the     2-act 
opera  semi-seria   Benvenuto   Cellini   (Grand 
Opera,  Sept.  3,  1838),  was  rejected  in  toto  by 
the  general  public  at  Paris,  and  also  a  fort- 
night later  at  London;  though  the  chosen 
few  at  Weimar  lauded  it  to  the  skies.    For 
Liszt    was    in    active    sympathy    with  .  B.v 
adopting  and  transmuting  the  latter's  ideas 
in  his  own  irresistibly  genial  and  original 
fashion.    In  1839  B.  was  made  Conservator 
of  the  Conservatory,  and,  in  1852,  librarian, 
an  appointment  held  until  death;  the  coveted 
professorship    was,    nevertheless,    jealously 
denied  him.    In  1843  his  first  concert-giving 
tour  in  Germany,  etc.,  met  with  great  success, 
which  he  recorded  in  his  Voyage  musical  en 
Allemagne  et  en  Italic  (1844;  2  vols.).   Similar 
excursions  through  Austria,  Hungary,  Bohe- 
mia and  Silesia  (1845),  and  Russia  (1847), 
were  equally  fortunate.     In  London  (1852) 
he  conducted  the  first  series  of  the  'New 
Philh.  Concerts';  in  1853  his  Benvenuto  Cellini 
was  performed  at  Covent  Garden  under  his 
baton.     BSatrice  et  Benedict,  a  2-act  comic 
opera,  was  likewise  brought  out  by  himself 
at  Baden-Baden  (1862).    He  was  appointed 
a  member  of  the  juries  at  the  exhibitions  in 
London  and  Paris,  1855  and  1861;  elected 
member    of    the    Academie    in    1856;    and 
decorated  with  the  cross  of  the  Legion  of 
Honor.     His  last  foreign  trip  was  to  Petro- 
grad,  by  invitation  of  the  Grand   Duchess 
Helenc,  to  bring  out  his  Damnation  de  Faust. 
In  1864  the  fees  from  21  representations  of 
Les  Troyens  at  the  Th.-Lyrique,  with  the  sum 
realized  from  the  sale  of  the  pf. -score,  yielded 
an  income,  placed  at  interest,  equal  to  his 
salary  as  critic  for  the  'Journal  des  Debats', 
and  he  at  once  resigned  his  post  with  the  fol- 
lowing outburst:  'At  last,  after  thirty  years' 
bondage,  I  am  free!    No  more  feuiUctons  to 
write,  no  more  commonplaces  to  excuse,  no 
more  mediocrities  to  praise,  no  more  indig- 
nation to  suppress;  no  more  lies,  no  more 
comedies,  no  more  mean  compromises.    I  am 
free!    I  need  never  again  set  foot  in  a  lyric 
theatre,  nor  speak  of  nor  listen  to  nor  even 
laugh  at  the  queer  medley  of  music  produced 
there.    Gloria  in  excelsis  Deo,  et  in  terra  pax 
hominibus  bonce  voluntatis!'. — The  evening  of 
his  life  was  overcast  by  the  failure  of  his 
opera,  Les  Troyens  a  Carthage  (1863),  and  the 
death  of  his  son  Louis  (1867).     During  his 
lifetime  he  met  with  little  real  appreciation 
in   his   native   country,  though  posthumous 
honors  are  now  showered  upon  him;  but  the 
somewhat  artificial  'Berlioz  cult'  in  France 
in  no  way  rivals  the  German  Wagner  move- 
ment.   Indeed,  Germany  has  most  generously 


honored  B.'s  memory  by  the  first  complete 
production,  under  Mottl's  direction,  of  the 
opera  Les  Troyens  (in  two  parts:  La  Prise  de 
Troie,  3  acts,  and  Les  Troyens  a  Carthage 
in  5  acts)  at  Karlsruhe  in  1897.    His  bizarre 
yet  very  popular  'oratorio,'  La  Damnation  de 
Faust  (1846),  perhaps  marks  the  culmination 
of  B.'s  striving  after  the  purely  fantastic;  but 
his    passion    for    unprecedented    orchestral 
combinations  and  gigantic  mass-effects  was 
unsated,  and  he  certainly  carried  the  science 
of  orchestration  to  wonderful  opulence.    His 
TraitS  dx instrumentation  (Engl,  transl.,  Lon- 
don; latest  German  ed.   1905,  by  Richard 
Strauss;  also  a  'Supplement'  entitled  'Tech- 
nique de  Vorchestre  moderne*  by  Widor  [1905; 
German  transl.  by  Riemann])  long  held  first 
place  among  works  of  its  class   (Gevaert's 
great  treatise  is  more  modern  and  complete). 
Besides  the  Voyage  musical  he  publ.  Les  Soirees 
de  Vorchestre  (1853),  Grotesques  de  la  musique 
(1859),    A    trovers    chants    (1862),    and    his 
MSmoires  (1870;  2nd  ed.  1876,  2  vols.;  Engl, 
transl.  London,   1884),  containing  an  auto- 
biography from  1803-65;  Les  Musiciens  et  la 
Musique  is  a  series  of  articles  coll.  from  the 
'Journal  des  DSbats'  (1903,  with  introd.  by 
Andre   Hallays).     His  prose  style  is  both 
forceful  and  polished— ^garnished  with  caustic 
wit  and  fanciful  conceits;  in  verse  he  penned 
the   words  to  his  VEnfance  du    Christ  (see 
below),  also  to  the  operas  BSatrice  et  Benkdict 
and  Les  Troyens. — Other  large  compositions, 
besides  works  already   mentioned,   are  the 
sacred  trilogy  VEnfance  du   Christ  (Part   I, 
Le  Songe  d'HSrode;  II,  La  Fuite  en  £gypte; 
III,  VA rrivSe  a  Sais) ;  a  Te  Deum  for  3  choirs, 
orch.  and  organ;  a  Grande  symphonic  funebre 
et  triomphale  for  full   military  band,   with 
strings  and  chorus  ad  lib.;  overture  to  Le 
Corsaire;  Le  cinq  Mai,  for  bass  solo,  ch.  and 
orch.    (for    the   anniversary    of    Napoleon's 
death) ;  also  other  instrumental  ana  choral 
works,  songs,  transcriptions.    A  complete  edi- 
tion of  Berlioz's  works  in  about  24  vols.,  ed. 
by  Ch.  Malherbe  and  F.  Weingartner,  is  being 
published  by  Breitkopf  &  Hartel.     So  far 
(1916)  18  vols,  have  appeared.    His  literary 
works  were  translated  into  German  by  R. 
Pohl,  and  publ.  in  4  vols.  (1864).    A  new  Ger- 
man ed.,  translated  by  E.  Elles  and  G.  Savic, 
in  10  vols,  (including  the  entire  correspond- 
ence), was   issued    by    Breitkopf   &    Hartel 
(Leipzig,  1903-12).     Volume  x  contains  the 
treatise  on  Instrumentation,  tr.  by  D.  Schultz 
and  W.  Niemann,  ed.  by  Weingartner. 

BIBLIOGRAPHY.— A.  Biography:  E. 
Hippeau,  B.,  Vhomme  et  V artiste  (3  vols., 
Paris,  1883-5);  A.  Jullien,  //.  B.  (Paris, 
1888;  a  most  valuable  work);  L.  Pohl,  H.  B.'s 
Leben  u.  Werke  (Leipzig,  1900);  K.  F.  Boult, 
B.'s  Life  as  Written  by  Himself  in  His  Letters 
and  Memoirs  (London,  1903);  R.  Louis,  H  B. 


79 


BERLYN— BERNASCONI 


(Leipzig,  1904);  J.  G.  Prod'homme,  H.  B.  > 
(Paris,  1905);  A.  Coquard,  B.  (Paris,  1908); 
B.  Schrader,  B.  (Leipzig,  1908);  A.  Boschot, 
La  Jeunesse  d'un  romantique:  II.  B.t  1 803-31 
(Paris,  1906) ;  id.,  Un  Romantique  sous  Louis- 
Philippe:  H.  B.t  1831-12  (iB.,  1908);  id.,  Le 
CrepuscuU  d'un  romantique:  H.  B.t  1842-69 
(ib.,  1913). 

B.  Correspondence:  D.  Bernard,  Corre- 
spondance  inidite  (Paris,  1878);  Ch.  Gounod, 
Lettres  iniimes  (Paris,  1882);  La  Mara,  Brief e 
von  H.B.an  die  Fiirstin  Carolyne  Wittgenstein 
(Leipzig,  1903;  in  French);  J.  Tiersot,  Les 
Annies  romantiques:  Correspondence  d'H.  B. 
(Paris,  1907).  All  the  above-mentioned  let- 
ters are  found  in  vols,  iii-v  of  the  B.  &  H.  ed. 

C.  Criticism:  F.  Liszt,  B.  u.  seine  Harold- 
symphonic  (1855;  repr.  in  vol.  iv  of  Liszt's 
'Gesatnmclte  Schriften');  A.  Ernst,  L' autre 
dramatique  de  H.  B.  (Paris,  1884) ;  R.  Pohl, 
H.  B.  :  Studien  u.  Erinnerungen  (Leipzig, 
1884);  E.  Hippeau,  B.  et  son  temps  (Paris, 
1892);  J.  Tiersot,  H.  B.  et  la  societi  de  son 
temps  (Paris,  1904). 

Berlyn,  Anton.    See  Berlijn. 

Bernabe'i,  (Giuseppe)  Ercole,  b.  Capra- 
rola,  Papal  States,  circa  1620;  d.  Munich, 
1688.  A  pupil  of  Orazio  Benevoli,  whom  he 
succeeded  in  1672  as  m.  di  capp.  at  the  Vati- 
can; 1674,  court  Kapellm.  at  Munich.  He 
wrote  5  operas  (prod,  in  Munich);  published 
a  book  oi  madrigals  a  3,  Concerto  madri- 
galesco  (1669),  and  one  of  motets  a  S  (1691); 
other  works  (masses,  offertories,  psalms)  are 
in  MS.  in  various  libraries. 

Bernabe'?,  Gloseffo  Antonio,  son  of 
preceding;  b.  Rome,  1659;  d.  Munich,  March 
9,  1732,  where,  in  1688,  he  succeeded  his 
father  as  court  Kapellm.— Works:  15  operas; 
masses,  and  other  ch.-music. — See  Q.-Lex. 

Beraacchl  [-nahk'ke],  Antonio,  celebrated 
sopranist  (musico);  b.  Bologna,  June  (bapt. 
23d),  1685;  d.  there  March,  1756.  Pupil  of 
Pistocchi.  Specially  engaged  by  Handel  for 
the  Italian  Opera,  London,  in  1729,  as  the 
finest  living  dramatic  singer.  In  1736  he 
founded  a  singing-school  at  Bologna.  He 
revived  the  style  of  vocal  embellishment 
which  the  French  term  'roulades.'  Comp.  of 
Grave  et  Fuga  a  4;  Kyrie  a  5;  Justus  ut  palma 
a  5. 

Bernard  [bar-nahr'],  femile,  b.  Marseilles, 
Nov.  28,  1843;  d.  Paris,  Sept.  11,  1902. 
Pupil,  in  Paris  Cons.,  of  Reber  (comp.), 
Benoist  (org.),  and  Marmontel  (pf.).  Org.  of 
Notre-Dame-des-Champs,  Paris,  and  a  dis- 
tinguished composer  of  the  new  school. — 
Works:  VI n. -concerto;  Concertstiick  for  pf.  w. 
orch.;  Fantaisie  for  do.,  op.  31;  orchl.  suites; 
a  Divertissement  for  wind-instrs.;  2  suites  for 
organ;  Beatrice  overture;  a  pf. -quartet;  a  pf.- 
trio;  sonata  for  pf.  and  'cello;  sonata  for  pf. 


and  vln.;  much  other  chamber-  and  pf. -music; 
2  cantatas,  GuiUaume  le  conquirant,  and  La 
Captvoite  de  Babylone, 

Bernard,  Moritz,  b.  Kurland,  1794;  d. 
Petrograd,  May  9,  1871.  Pupil  of  John  Field 
(Moscow,  1811),  and  Hassler.  He  at  first 
travelled,  then  (1816)  was  Kapellm.  to  Count 
Potocki,  and  in  1822  teacher  of  music  in 
Petrograd,  where  he.  opened  a  music-store  in 
1829.  Wrote  minor  pt.-pieces,  and  an  opera, 
Olga  (Petrograd,  1845). 

Bernard,  Paul,  b.  Poitiers,  France,  Oct. 
4,  1827;  d.  Paris,  Feb.  24,  1879.  A  pupil  of 
Halevy,  Thalberg  and  others,  in  Paris  Cons.; 
successful  concert-pianist  and  teacher,  com- 
posed many  small  pf. -pieces,  and  wrote  criti- 
cisms for  the  'Menestrel,'  and  the  'Revue  et 
Gazette  musicale.' 

Bernar'di,  Bartolomeo,  b.  Bologna;  d. 
Copenhagen,  1730.  Lived  in  Copenhagen  for 
over  30  years  as  vlst.  and  Kapellm.  Wrote 
an  opera,  Libussa  (Prague,  1703);  op.  1,  12 
trio  sonatas;  op.  2,  10  do.;  op.  3,  12  sonatas 
for  violin  with  basso  continuo. 

Bernar'di,  Enrico,  b.  Milan,  Mar.  11, 
1838;  d.  there  July  17,  1900.  A  travelling 
conductor  and  leader,  the  director  and  pro- 
prietor of  an  orchestra  at  Milan.  He  wrote 
several  fairly  succ.  operas  and  nearly  60 
ballets  (1854-79),  and:  much  very  popular 
dance-music;  also  marches,  and  the  like.  His 
first  ballet,  Illusioni  d'un  pittoret  was  prod, 
at  the  Carcano  Th.,  Milan,  in  1854. 

Bernar'di,  Francesco.    See  Sbnesino. 

Bernar'di,  Gian  Giuseppe,  b.  Venice, 
Sept.  15,  1865.  Studied  at  first  law,  but  then 
entered  Cons,  at  Venice;  app.  prof,  cpt.,  hist, 
of  music  and  esthetics  there;  also  founded 
'Societa  di  musica  e  stromenti  antichi.' 
Wrote  Armonia  and  Contrappunto  for  the 
'Manuali  Hoepli';  comp.  of  pf.-pieces,  pieces 
for  vln.,  and  songs. 

Bernar'di,  Steffano,  b.  Verona; d.  1638  (?). 
M.  di  capp.  at  cathedral  there  from  1615-27; 
then  called  to  Salzburg  as  Kapellm.  at  the 
cathedral. — Wrote  2  books  of  masses  a  8;  1 
a  4  and  5;  3  books  of  madrigals  a  6;  3  do.  a  5; 
2  books  of  madrigaletti;  psalms  and  motets; 
also  instrl.  works  (sonatas). — See  Q.-Lex. 

Bernardi'ni,  Marcello  ('Marcello  di 
Capua'),  b.  Capua,  circa  1762.  Wrote  over 
20  stage-works,  both  text  and  music,  most 
performed  1784-99  at  Venetian  theatres 
with  good  success. 

Bernasco'ni,  Andrea,  b.  Marseilles,  1706; 
d.  Munich,  Jan.  24,  1784,  where  he  was  court 
Kapellm.  from  1755.  He  wrote  much  sacred 
music,  and  18  operas,  14  of  them  for  Mu- 
nich.— See  Q.-Lex. 


80 


BERNASCONI— BERTfi 


Bernaaco'nl,  Pletro,  famous  Italian  or- 

fm-builder;  b.  (?);  d.  Varese,  May  27,  1895. 
uilt  the  organs  in  Como  cathedral,  ancl  in 
the  church  o?  San  Lorenzo  at  Milan. 

Ber'neker,  Constanz,  b.  Darkehmen,  E. 
Prussia,  Oct.  31,  1844;  d.  Konigsberg,  June 
9,  1906.  Pupil  of  the  Inst,  fur  Kirchenmusik 
and  the  R.  Acad,  at  Berlin;  cathedral  org. 
at  Kdnigsberg,  teacher  of  comp.  at  the  Cons., 
etc. — Works:  The  oratorios  Judith,  Christi 
Himmelfahrt;  a  Reformations-Kantate;  the 
cantatas  Gotl  unsere  Zuflucht  and  Christus  ist 
mein  Leben;  the  choral  works  with  orch. 
Das  Siegesfest,  Hero  und  Leander,  Das  hohe 
Lied,  Mila,  das  Haidekind,  etc. — Biogr.  by 
V.  Laudien  (Berlin,  1909). 

Ber/ner,  Friedrich  Wilhelm,  b.  Breslau, 
May  16,  1780;  d.  there  May  9,  1827.  Fine 
organist,  music-teacher  at  the  Br.  Seminary, 
and  later  Director  of  the  R.  Academic  Inst, 
for  Church-music.  Wrote  much  ch. -music 
(MS.),  and  published  theoretical  works. — 
Biogr.  by  Hientsch  (1829). 

Bern 'hard  der  Deutsche,  organist  of  S. 
Marco,  Venice,  1445-59,  the  year  of  his 
death,  a  and  known  there  as  'Bernardo  di 
Steffanino  Murer';  was  the  reputed  inventor 
of  organ-pedals,  and  at  least  introduced  them 
into  Italy. 

Bern'hard,  Christoph,  b.  Danzig,  1627; 
d.  Nov.  14,  1692,  Dresden,  where  he  studied 
under  H.  Schtitz.  The  Elector  sent  him  to 
study  singing  in  Italy;  he  afterwards  became 
2nd,  and  then  1st  Kapellm.  at  Dresden,  suc- 
ceeding Schiitz.  He  was  a  remarkable  con- 
trapuntist. Publ.  Geistlichc  Harmonica  (1665), 
and  Prudentia  prudentiana  (1669;  hymns).  A 
treatise  on  composition,  and  a  second  on 
counterpoint,  are  in  MS.;  some  of  his  can- 
tatas were  publ.  by  M.  Seiffert  in  vol.  vi  of 
'Dkm.  deutscher  Tonkunst.' 

Berno  'Auglen'sis,'  abbot  of  Reichenau 
monastery  1008  to  his  death  on  June  7,  1048. 
Wrote  learned  treatises  on  music,  to  be  found 
in  Gerbert's  'Scriptores,'  vol.  ii.  A  monograph 
on  his  system  of  music  was  published  by 
W.  Brambach  (1881). 

Bernoulli  [-nool'le],  Eduard,  b.  Basel, 
Nov.  6,  1867;  in  1897  took  the  degree  of  Dr. 
Phil.,  Leipzig;  with  the  thesis  Die  Choral- 
notenschrih  bet  Hymnen  und  Sequenzen  im 
spateren  MiUelaUer  (publ.  1898).  He  edited 
Heinrich  Albert's  Arion  (vols,  xii-xiii  in 
'Dkm.  deutscher  Tonkunst') ;  also  (with  Holz 
and  Saran)  the  new  edition  of  the  'lenaer 
Liederhandschrift'  in  modern  notation  (1901). 
In  1909  he  qualified  as  lecturer  at  Zurich 
Univ.  with  the  lecture  Berlioz  als  Asthetiker 
der  Klangfarben  (publ.  1909).  He  also  wrote 
Oratorientexte  Handels  (1905);  Aus  Lieder- 
buchern  der  Humanisten  (1910). 


81 


Bernoulli,  Johann,  b.  Basel,  July  27, 
1667;  d.  there  Jan.  2,  1747,  as  Prof,  of 
Sciences;  succeeded  by  his  son  Daniel  [b. 
Groningen,  Feb.  9,  1700;  d.  Basel,  March  17, 
1782].  Their  writings  on  acoustics  are  valuable. 

Berns'dorf,  Eduard,  b.  Dessau,  Mar.  25, 
1825;  d.  Leipzig,  June  27,  1901.  Pupil  of 
Schneider  and  A.  B.  Marx  (Berlin).  Writer, 
critic  (for  the  Leipzig  'Signale'),  and  comp. 
He  completed  Schladebach's  '  Universal- Lexi- 
kon  der  Tonkunst'  (1855-6,  3  vols,  and  Ap- 
pendix); also  publ.  pf. -pieces  and  songs. 

Bernuth  [bar'noot],  Julius  von,  b.  Rees, 
Rhine  Province,  Aug.  8,  1830;  d.  Hamburg, 
Dec.  24,  1902.  Originally  destined  for  the 
law,  he  studied  music  at  Berlin  under 
Taubert  and  Dehn;  from  1852-4,  barrister  at 
Wesel;  then  gave  up  law,  and  studied  music 
at  Leipzig  Cons,  till  1857,  when  he  founded 
the  chamber-music  society  'Aufschwung,'  and 
in  1859  the  'Dilettanten-Orchester-Verein'; 
also  conducted  the  'Euterpe,'  the  'Singaka- 
demie,'  and  the  Male  Choral  Soc.  During 
the  summer  of  1863  he  studied  singing  with 
Manuel  Garcia  at  London;  returning  to  Leip- 
zig, he  conducted  one  season  of  the  'Euterpe' 
concerts,  then  becoming  conductor  of  the 
Hamburg  Philh.,  in  1867  of  the  H.  'Singaka- 
demie.'  In  1873  he  founded  a  conservatory 
there.     In  1878,  'Royal  Prussian  Professor.' 

Berr,  Friedrich,  famous  clarinettist  and 
bassoonist;  b.  Mannheim,  April  17,  1794;  d. 
Paris,  Sept.  24,  1838.  Bandmaster  in  various 
French  regiments;  1823,  1st  clarinet  at  the 
Th.  des  Italiens;  1831,  prof,  of  clarinet  at 
Paris  Cons.;  1836,  Director  of  the  new  School 
of  Military  Music. — Works:  Traite  compUt  de 
la  clarinette  &  14  clefs  (1836);  prolific  comp. 
for  clarinet,  bassoon,  etc.  (500  pieces  of 
military  music  alone;  suite,  trios,  duos,  etc.). 

Berre\  Ferdinand,  b.  Ganshoren,  n.  Brus- 
sels, Feb.  5,  1843.  Opera-composer;  first 
work,  VOrage  au  moultn  (1867);  then  Le 
Couleau  de  Castille  (1867);  others  in  MS.  Has 
published  over  50  songs  (romances). 

Bertali,  Antonio,  b.  Verona,  March, 
1605;  d.  Vienna,  April  1,  1669.  Yiennese 
court  musician  from  1637;  1649,  till  death, 
court  Kapellm.,  succeeding  Valentini.  Prod, 
several  cantatas  (1641-46),  and,  from  1653- 
67,  8  operas  and  3  oratorios,  all  at  Vienna. — 
See  Q.-Lex. 

Berte,  Heinrich,  b.  Galgocz,  Hungary, 
May  8,  1858;  stage-composer,  living  in 
Vienna.  Has  brought  out  the  ballets  Das 
Marchenbuch  (Prague,  1890),  Amor  auf  Rei- 
sen  (Vienna,  1895),  Der  Karneval  in  Venedig 
(Vienna,  1900),  Automatenzauber  (Vienna, 
1901);  and  the  operettas  Die  Schneeflocke 
(Prague,  1896),  Der  neue  Burgermeister 
(Vienna,  1904),  Die  MUlionenbraut  (Munich, 


BERTELMANN— BERTON 


1905),  Der  schone  Gardist  (Breslau,  1907), 
Der  kleine  Chevalier  (Dresden,  1907),  Der 
Gliicksnarr  (Vienna,  1909),  Kreolenblut  (Ham- 
burg, 1911),  Der  M&rchenprinz  (Hanover, 
1914). 

Ber'telmann,  Jan  Georg,  b.  Amsterdam, 
Jan.  21,  1782;  d.  there  Jan.  25,  1854.  Pupil 
of  D.  Brachthuijzcr;  prof,  at  the  R.  School  of 
Music,  where  he  formed  many  eminent  pupils 
(Stumpff,  Hoi,  Van  Bree,  et  al.). — Published 
works:  Mass,  requiem,  string-quartet,  pieces 
for  vln.  and  pf.;  many  others  in  MS. 

Bertelsmann,  Karl  August,  b.  GUters- 
loh,  Westphalia,  1811;  d.  Amsterdam,  Nov. 
20,  1861.  Pupil  of  Rinck.  Director  (1839) 
of  the  'Eutonia'  society,  Amsterdam. — 
Works:  Choruses  for  men's  voices;  12  4-part 
songs  for  mixed  choruses;  songs  with  pf.; 
pieces  for  organ;  pf. -music. 

Bertheaume  [bar-tohm'],  Isidore,  b. 
Paris,  1752;  d.  Petrograd,  March  20,  1802. 
First  violin  at  Grand  Opera,  1774;  conductor 
of  the  'Concerts  Spirituels,'  1783;  finally,  solo 
violinist  in  the  Imp.  orchestra  at  Petrograd. 
— Works:  Sonatas,  solos,  duos,  and  a  concerto 
for  vln.;  2  symphonies  concertantes  f.  2  vlns.; 
3  sonatas  for  clavecin,  with  violin. 

Bertliold,   (Karl  Friedrlch)  Theodor, 

b.  Dresden,  Dec.  18,  1815;  d.  there  April  28, 
1882.  Pupil  of  Jul.  Otto  and  Joh.  Schneider; 
in  1864  he  succeeded  the  latter  as  court  org. 
at  Dresden.  He  wrote  an  oratorio,  Petrus, 
a  Missa  solemnis,  a  symphony,  overtures,, 
church-music,  etc.;  also  (with  Fiirsteoau)  a 
pamphlet,  Die  Fabrikalion  musikalischer  In- 
strumenie  im  Vogtlande  (1876). 

Bertin  [bar-tanl,  Louise-Angelique,  b.  at 
the  Roches,  n.  Paris,  Feb.  15,  1805;  d.  Paris, 
April  26,  1877.  Pupil  of  Fetis;  dram,  comp., 
singer,  pianist. — Operas:  Guy  Mannering  (pri- 
vate perf.),  Le  Loup-garou  (Paris,  1827),  Faust 
(1831),  Notre-Dame  de  Paris  [Esmeralda] 
(1836);  many  minor  compositions,  of  which 
Six  Ballades  were  published. 

Berti'ni,  Benott-Auguste,  b.  Lyons,  June 
5,  1780;  d.  (?).    Pupil  of  Clementi  in  London 


points, 

nouvelle  art  de  noter  la  tnusique  (Paris,  1812), 
and  Phonological  System  for  acquiring  extraor- 
dinary facility  on  all  musical  instruments  as 
well  as  in  singing  (London,  1830). 

Berti'ni,  Domenico,  b.  Lucca,  June  26, 
1829;  d.  Florence,  Sept.  7,  1890.  Pupil  of 
Lucca  Music-School,  later  of  Mich.  Puccini. 
1857,  Director  of  the  mus.  inst.  at  Massa 
Carrara,  also  m.  di  capp.;  went  to  Flor- 
ence in  1862,  as  singing-teacher  and  critic, 
and  became  director  of  the  'Cherubini  So- 
ciety.'      Contributor     to    the    'Boccherini' 


of  Florence,  'La  Scena*  of  Venice,  and  other 
periodicals.  He  comp.  2  operas,  masses,  mag- 
nificats, and  chamber-music;  also  wrote 
Compendio  de*  principt  di  musica,  secondo  un 
nuovo  sistema  (1866). 

Berti'ni,  Abbate  Giuseppe,  b.  Palermo, 
1756;  d.  there  1849  (?).  M.  di  capp.  to  the 
Sicilian  court;  publ.  a  Dizionario  storico-cri- 
tico  degli  scrittori  di  musica  (Palermo,  1814). 

Berti'ni,  Henri  (-Jerome)  ['Bertini  le 
jeune'j,  pianist  and  composer;  b.  London, 
Oct.  28,  1798;  d.  Meylau,  n.  Grenoble, 
Oct.  1,  1876.  When  six  months  old  he  was 
taken  to  Paris,  where  he  was  taught  by  his 
father  and  his  elder  brother,  Benott-Auguste; 
played  early  in  public,  and  at  1 2  made  a  con- 
cert-tour through  the  Netherlands  and  Ger- 
many. ^  He  returned  to  Paris  for  study;  spent 
some  time  in  Great  Britain;  and  from  1821- 
59  resided  in  Paris,  whence  he  made  many 
brilliant  artistic  tours.  In  1859  he  retired  to 
his  estate  at  Meylau.  Both  as  pianist  and 
composer  he  was  a  musician  of  the  highest 
talent  and  lofty  ideals,  unalterably  opposed 
to  the  flashy  virtuosity  then  so  much  in  vogue. 
His  technical  studies  are  still  of  value:  an 
excellent  selection  of  50  has  been  edited  by 
G.  Buonamici;  also  op.  100,  29  and  32  by 
Riemann,  as  a  preparation  for  Czerny's  op. 
299;  his  am  of  Bach's  '48  Preludes  and 
Fugues'  for  4  hands,  is  useful.  He  also  wrote 
much  chamber-music,  and  pieces  for  pf.-solo 
— over  200  works  in  all. 

Berton  [bar-t6hn'],  Francois,  natural  son 
of  Henri-Montan  B.;  b.  Paris,  May  3,  1784;  d. 
July  15,  1832.  Pupil  of  Cons.,  1796-1804; 
prof,  of  singing  there  1821-7.  He  composed 
several  operas,  and  some  vocal  music. — 
Biogr.  by  Raoul-Rochette  (1832). 

Berton,  Henri-Montan,  son  of  Pierre- 
Montan  B.;  b.  Paris,  Sept.  17,  1767;  d.  there 
April  22,  1844.  Opera-composer,  pupil  of  Rey 
and  Sacchini.  In  1782,  violinist  in  Op6ra 
orch.;  1795,  prof,  of  harm,  in  Paris  Cons.; 
1807,  cond.  of  the  Opera  buffa;  1809,  chef  du 
chant  at  the  Opera;  1815,  member  of  the 
Academy;  1816,  prof,  of  comp.  at  Cons.  Of 
his  47  operas,  the  best  are  Montano  et  Ste- 
phanie (1799),  Le  Dtlire  (1799),  and  Aline, 
reine  de  Golconde  (1803);  he  also  wrote  bal- 
lets, 5  oratorios,  5  cantatas,  and  many  ro- 
mances. His  theoretical  works  are  curious 
rather  than  valuable. — Biogr.  by  Raoul- 
Rochette:  Notice  hist,  sur  la  vie  et  les  ouvrages 
de  M.  Berton  (Paris,  1844),  and  by  H.  Blan- 
chard,  Henri-Montan  Berton  (Paris,  1839). — 
See  Q.-Lex. 

Berton,  Plerre-Montan,  b.  Maubert- 
Fontaines  (Ardennes),  Jan.  7,  1727;  d.  Paris, 
May  14,  1780,  as  conductor  of  the  royal  orch. 
and  of  the  Grand  Opera.    A  contemporary  of 


82 


BERTONI— BESLER 


Gluck  and  Piccinni,  his  great  talent  for  con- 
ducting aided  efficiently  in  the  improvement 
of  French  opera.  _  He  wrote  several  operas 
and  other  stage-pieces,  some  in  collaboration 
with  Trial,  etc. — See  Q.-Lex. 

Berto'ni,    Ferdinando    (Gioseffo),    b. 

Island  of  Sal6,  n.  Venice,  Aug.  15,  1725;  d. 
Desenzano,  Dec.  1,  1813.  Pupil  of  Padre 
Martini;  1752,  first  organist  at  San  Marco; 
1784,  Galuppi's  successor  as  m.  di  capp.; 
choirmaster  at  the  Cons,  de'  Mendicanti  from 
1757-97. — Works:  5  oratorios,  and  much 
other  church-music;  34  operas;  chamber- 
music;  6  harpsich.-sonatas,  etc.— See  Q.-Lex. 

Bertrand,  Aline,  one  of  the  foremost 
harpists  of  her  time;  b.  Paris,  1798;  d.  there 
March  13,  1835;  stjdied  at  the  Cons,  under 
Naderman,  and  in  1815  with  Bochsa;  scored 
enormous  success  at  her  debut  in  1820  (in 
Pans  I?]);  then  toured  all  Europe;  upon  her 
appearance  in  Vienna,  in  1828,  she  was  ac- 
corded a  reception  surpassed  only  by  the  one 
Sven  to  Paganini;  published  a  Fantaisie  sur 
*\\£<?nance  **  JoseP*'— Mendel  wrote  of  her: 
With  regard  to  force  and  boldness  of  execu- 

/i^Snw     remains  unsurpassed  to  this  day 

Bertrand  [-trahn'J,  Jean-Gustave,  b.Vau- 
girard,  n.  Pans,  Dec.  24,  1834;  d.  Paris,  1880. 
Writer  and  critic— Works :  Histoire  ecclesias- 
hque  de  I  argue  (1859);  Essai  sur  la  musique 

7?£L\l  *'£9?Ui:*Les  or,igines  *   Ftormonie 
(1800);   De  la  reforme  des  etudes  du  chant  au 

Conserv.    (1871);    Les   nationaliUs  musicales 

itudtees  dans  le  drame  lyrique  (1872).      Con- 

tnbutor  to  Pougin's  Supplement  to  Fetis. 

u   cfr'7?,f  Franz'  nePhâ„¢  of  Joh.  Fr.  B., 

nXh°lm^,U,y  2\  1l96;   d'  there  APrii 
JO,  1808,  as  Director  of  the  Cons. — Works*  1 

opera    Estrella  di  Soria    (Stockholm,    1862- 

publ.);  3  symphonies;  chamber-music. 

hn?nT naWi  Ji°^?nn1  Wedrich,  b.  Stock- 
holm, Dec.  4,  1787;  d.  there  Aug.  26,  1861. 
Violinist  pupil  of  Abt>e  Vogler,  and  of 
remarkable  precocity,  playing  in  public  at  5, 
?â„¢  w"tl"&  a  symphony  at  9;  after  concert- 
tours,  he  became  (1816)  chamber- musician  to 
the  King  and  from  1819  was  conductor  of  the 
royal  orch  His  compositions  (orch.  works 
and  chamber-music)  are  mostly  forgotten. 

Ber'wald,   William,   b.   Schwerin,    Ger- 
7£nfr.  *?<*•  26,  1864.     Studied  comp.  with 

l^'t  te^gerrv(.1883~7)  *nd  L  F^zt,  Stutt- 
gart (1887-8)     Director  of  the  Philh.  Soc.  at 

Libau,  Russia  (1890);  head  of  dept.  of  theory, 

bvracuse  Univ.,  since  1892;  director  of  several 

choral  societies.    Received  prize  from  Phila. 

Mb.  bociety  for  a  quintet  for  pf .  and  strings; 

also  received   'Clemson   Medal'   in  Anthem 

contest.— Works:  Seven  Last  Words  of  Christ, 

cantata;   Crucifixion  and  Resurrection,  can- 

83 


tata  for  mixed  voices;  Dramatic  Overture  for 
orch.;  Walthari,  overture  f.  orch.;  sonata  for 
vl.  and  pf.  in  F;  many  songs,  pf.-pcs.,  and 
anthems. 

BerVin,  Adolf,  b.  Schwersenz,  n.  Posen, 
March  30,.  1847;  d.  Rome,  Aug.  29,  1900. 
Pupil  of  Lechner  (pf.)  and  Frohlich  (vln.),  also 
of  Rust  at  Berlin  (cpt.)  and  Dessoff  at  Vien- 
na (comp.).  In  1882,  Director  of  the  Royal 
Libraries  at  the  Cecilia  Academy  in  Rome. 
Edited  an  Italian  transl.  of  Lebert  and  Stark's 
'Piano  School.' 

Beechnitf ,  Johannes,  b.  Bockau,  Silesia, 
April  30,    1825;  d.   Stettin,   July   14,   1880. 
From  1848,  teacher  and  cantor  at  the  Catholic 
School,  Stettin;  he  also  cond.  a  male  choral 
soc.,  for  which  he  wrote  many  easy  choruses. 
Besekirsky  [ba-z£-kcr'ske]f  Vasslll  Vassi- 
lievitch,  celebrated  violinist ;  b.  Moscow,  Jan. 
26, 1835.    Having  received  his  education  from 
private  teachers,  he  entered  the  orch.  of  the 
Imp.  Th.  at  Moscow  in  1850;  was  granted 
leave  of  absence  in  1858,  and  went  to  Brus- 
sels, where  he  studied  with  Leonard  (vln.) 
and  Damcke  (comp.);  returned  to  his  post  in 
Moscow  in  1860.    Although  he  had  appeared 
as  soloist  in  Brussels  and  Paris,  he  did  not 
begin  regular  concert-tours  until  1868,  when 
he  played  with  great  success  at  the  Gewand- 
haus    in    Leipzig;    then    toured    Germany, 
France,  Spam,  England,  Austria,  Scandina- 
via, the  Netherlands;  1871,  concert-master  of 
the  Imp.  Th.  at  Moscow;  1882-1902  prof,  of 
vln.  at  the  Cons,  of  the  Philh.  Soc.  (has  per- 
sonally taught  over  500  pupils).     The  50th 
and  60th  years  of  his  uninterrupted  activity 
were  made  occasions  of  special  celebrations  in 
Moscow  and  Petrograd.— Comps.  for  orch. : 
Ouverture  de  concert,  Suite  (5  movems.),  Scene 
lyrtque.  Tableau  symphonique,  Hpisode  fanias- 
ttque  Ballade,  Marche  de  Couronnement  (ded. 
to  Alexander  1 1 1) ;  a  concerto  for  vln.  and  orch.  ; 
numerous  pieces  for  vln.;  also  publ.  cadenzas 
to  the  concertos  of  Beethoven,  Brahms  and 
Paganini  (Eb);  has  edited  the  vln.-sonatas  of 
Bach,  with  a  valuable  preface,  VArt  musical 
du   vtolon  du    X  VII'  jusqu'au    XX*  siecle 
(Kiev,  1913). 

Besekir'sky,  Vassili,  fine  violinist,  son 
of  preceding;  b.  Moscow,  1879;  taught  en- 
«™«y  £y  hls  father;  debut  at  Moscow  in 
1891;  has  toured  Russia,  Germany,  Scandi- 

Sy?5*!-10!13*^- of  vln- at  0dessa  Cons-; 

1914-16  in  the  U.  S.,  where  he  made  successful 
appearances  as  soloist  with  the  larger  orches- 
tras and  in  recitals. 

i«:Bf?71fr^S!?mYe,»Tb\BrieS'  Si,esia.  D<*. 
15,  1574;  d.  Breslau,  July  19,  1625,  where  he 

was  rector  of  the  Gymnasium  zum  Heiligen 

Geist  from   1605.     His  church-compositions 

are  preserved  in  great  part  at  the  library 

of  bt.  Bernardinus,  Breslau. 


BESOZZI— BEVAN 


Besoz'zl,  Alessandro,  one  of  the  best 
oboists  of  his  time,  b.  Parma,  circa  1700;  d. 
Turin,  1775.  In  1731,  member  of  court  orch., 
Turin,  later  advancing  to  chamber-musician 
and  director-general  of  the  instrl.  music.  He 
made  frequent  concert-tours  with,  his  brother 
Girolamo  (d.  Paris,  1786);  Burney  heard 
him  in  1772.  He  publ.  numerous  trio-sonatas 
for  flute  with  vln.  and  'cello  -(or  harpsich.), 
2  vlns.  and  'cello,  etc.;  6  vln. -sonatas  w. 
bass;  etc. 

Besoz'zi,  Louis-Desire1,  b.  Versailles, 
April  3,  1814;  d.  Paris,  Nov.  11,  1879.  Of  a 
musical  family,  he  entered  the  Cons,  in  1825, 
and  took  the  first  Grand  prix  de  Rome  in 
1837.  He  lived  in  Paris  as  a  music-teacher, 
and  composed  pf.-pieccs,  etc. 

Bessel,  Vassill  Vassilievltch,  b.  Petro- 
grad, April  25, 1843;  d.  Zurich,  April  25,  1907. 
The  founder  (1869)  of  the  music-publ.  firm  of 
Bessel  &  Co.  at  Petrograd,  which  has  publ. 
works  by  many  distinguished  Russian  comps. 
(A.  Rubinstein,  Rimsky-Korsakov,  Tchai- 
kovsky, Mussorgsky),  also  two  short-lived 
periodicals.  He  wrote  Reminiscences  of 
Tchaikovsky,  who  was  his  fellow-student  at 
the  Petrograd  Conservatory. 

Beseems  [bes-sahn'],  Antoine,  violinist;  b. 
Antwerp,  April  6,  1809;  d.  there  Oct.  19, 
1868.  Pupil  of  Baillot  at  Paris  Cons.  (1826); 
member  of  the  Italian  Opera  orch. ;  then  made 
long  concert- tours,  and  from  1847-52  cond. 
the  orch.  of  the  'Societe  royale  d 'harmonic' 
Antwerp. — Works:  Masses,  motets,  psalms, 
graduate,  etc.;  a  vln. -concerto;  Fantasias  for 
vln.;  12  grandes  Etudes  for  vln.  with  pf.;  12 
grands  Duos  de  concert  for  do.  do. ;  other  vln.- 
pieces;  duos,  trios  and  quartets  for  strings;  etc. 

Besson  [bcs-sohn'],  Gustave-Auguste,  b. 

Paris,  1820;  d.  there  1875.     Is  noted  for  his 
improvements  in  the  valves  of  wihd-instrs. 

Best,  William  Thomas,  distinguished 
organ- virtuoso;  b.  Carlisle,  Engl.,  Aug.  13, 
1826;  d.  Liverpool,  May  10,  1897.  Taught  by 
Norman,  deputy  organist  at  the  cathedral; 
first  appointment,  organist  of  Pembroke  Road 
Chapel,  Liverpool,  1840;  1847,  at  the  Church 
for  the  Blind;  1848,  of  the  Philh.  Society.  In 
1854,  organist  of  the  Panopticon,  London, 
and  also  at  St.  Martin's;  1855,  of  Lincoln's 
Inn  chapel;  1855-94,  of  St.  George's  Hall, 
Liverpool,  and  also  resumed  (1872)  the  post 
of  organist  of  the  Philh.  Society.  In  1880  he 
was  offered  the  option  of  knighthood  or  a 
Civil-List  pension  of  £100  per  annum;  he 
accepted  the  latter,  having  a  confirmed  dis- 
like to  all  titles.  He  retired  in  1894.  Best's 
extraordinary  virtuosity  made  him  much  in 
request  for  very  numerous  public  functions; 
in  1890  he  went  to  Sydney,  Australia,  to  in- 
augurate the  organ  in  the  new  Town  Hall. 


84 


His  recitals  were  a  feature  in  Liverpool  mus. 
life;  he  played  concertos  at  many  successive 
Handel  Festivals.  His  works,  popular  in  type 
though  classical  in  form,  include  church-serv- 
ices and  anthems;  sonatas,  preludes  and 
fugues,  concert-fantasias,  studies,  etc.,  for 
organ ;  also  2  overtures  and  a  march  for  orch., 
and  several  pf. -pieces.  His  chief  text-books 
are  The  Art  of  Organ- Playing  (London,  1870), 
in  4  parts,  and  Modern  School  for  the  Organ 
(London,  1853);  he  also  publ.  Handel  Album 
(20  vols.);  Arrangements  from  the  Scores  of  the 
Great  Masters  (5  vols.) ;  and  a  large  variety  of 
transcriptions.  B.  likewise editedmany  other 
of  Handel's  works.  An  excellent  sketch  of  B. 
is  to  be  found  in  the  'Musical  Times,'  June  1, 
1897,  pp.  382-3. 

Beststadlg,  Otto,  b.  Striegau,  Silesia, 
Feb.  21,  1835.  Pupil  of  Mettner,  Freuden- 
bcrg  and  Mosevius  in  Breslau;  settled  in 
Hamburg  in  1858;  founded  a  4Konzertverein' 
and  his  own  Cons.,  directing  both  until  his 
retirement  in  1910;  was  also  cond.  of  the 
'Musikgesellschaft'  at  Wandsbeck;  made  R. 
mus.  dir.  in  1879.  Wrote  2  oratorios,  Der  Tod 
Baldurs  and  Victoria  Cruris;  Deutscher 
Hymnus;  a  quartet  for  vln.,  'cello,  pf.  and 
harmonium;  pieces  for  pf.;  also  Die  unent- 
behrlichen  Htlfswissenschaften  beim  Klavier- 
unterricht  (1872,  3  parts). 

Bettl,  Adolf o,  first  violin  of  the  Flonzaley 
Quartet;  b.  Lucca,  Tuscany,  March  21,  1875. 
Showed  talent  early,  and  after  studying  with 
a  country  teacher  began  serious  study  of  the 
violin.  His  father  was  very  musical  and  Puc- 
cini, Catalani  and  Sgambati  were  frequent 
visitors  at  his  home.  In  1892  the  young  vio- 
linist went  to  Liege  to  study,  and  spent  4 
years  under  Cesar  Thomson;  after  complet- 
ing his  studies,  spent  4  years  in  Vienna  as 
soloist ;  called  from  Vienna  to  Brussels,  re- 
placing Cesar  Thomson  during  his  tours  and 
taking  part  in  the  Cons,  concerts  under 
Gevaert;  remained  in  Brussels  from  1900-3; 
in  November,  1903,  became  leader  of  the 
famous  Flonzaley  Quartet. 

Betz,  Franz,  distinguished  dramatic  bari- 
tone; b.  Mayencc,  March  19,  1835;  d.  Berlin, 
Aug.  11,  1900.  Sang  from  1856-9  at  Hanover, 
Altenburg,  Gera,  Bernburg,  Kothen,  and 
Rostock;  after  his  debut  as  Don  Carlos  in 
Ernani  at  Berlin  (1859),  he  was  permanently 
eng.  at  the  Royal  Opera  House  until  his  re- 
tirement in  1897,  when  the  Emperor  named 
him  'hon.  member'  of  the  opera-company. 
An  eminent  singer  of  Wagnerian  rdles,  he 
created  the  Hans  Sachs  at  Munich,  1868,  and 
the  Wotan  at  Bayreuth  in  1876.  Other 
favorite  r61es  were  Don  Juan,  Hans  Heiling, 
and  Tell. 

Sevan,  Frederick  Charles,  b.  London, 
July  3,  1856.    Chorister  and  solo  boy-sop.  at 


BEVIGNANI— BIANCHI 


All  Saints',  Margaret  St.,  London;  organ- 
pupil  of  Willing  and  Hoyte,  and  organist  in 
several  churches;  studied  singing  under 
Schira,  Deacon,  and  Walker;  became  Gentle- 
man of  the  Chapel  Royal,  Whitehall,  in  1877, 
and  at  St.  James's  in  1888;  since  1906  he  has 
been  living  in  Australia.  Well-known  bass 
concert-singer,  and  composer  of  very  popular 
songs:  The  Mighty  River,  The  Flight  of  Ages, 
My  Angel,  Watching  and  Waiting,  etc. 

Bevignani     [-ve-fiah'-],    (Cavaliere)    En- 
rico (Modesto),  b.  Naples,  Sept.  29,  1841; 
d.  there  Aug.  29,  1903.   Studied  composition 
under  Albanese,  Lillo,  and  others;  his  first 
opera,  Caterina  Bloom  (Naples,   1863),  was 
very  successful;  but  he,  preferring  the  career 
o(  conductor,  was  engaged  by  Col.  Mapleson 
from  1864-70  at  H.  M.'s  Th.,  London,  then 
in  Covent   Garden.      Engagements  in  the 
Italian    operas   at   Petrograd   and   Moscow 
alternated  with  the  London  seasons,   until 
B.'s  engagement  for  the  Metropolitan  Opera, 
New  York,  in  1894.     By  the  Czar  he  was 
.made  Knight  of  the  Order  of  St.  Stanislas, 
which  carries  with  it  nobility  and  a  life-pension. 

Bev'in,  Elway,  Welsh  comp.  and  organist; 
b.  between  1560-70;  d.  1640  (?).  He  was  a 
pupil  of  Tallis;  (1589)  organist  of  Bristol 
cathedral,  and  (1605)  Gentleman  Extraordin- 
ary of  the  Chapel  Royal. — Works:  A  Brief e 
and  Short  Introduction  to  the  Art  of  Musicke 
(1631);  a  Short  Service  in  D  m.  (in  Bar- 
nard's and  Boyce's  Colls.) ;  a  song  in  20  parts, 
Hark,  Jolly  Shepherds;  and  anthems  (MS.). 

Bewerunge  [ba'-],  Rev.  Henry,  b.  Letma- 
the,  Westphalia,  Dec.  7,  1862.  Pupil  of  Cons, 
at  Wiirzburg;  ordained  to  priesthood  at  Eich- 
statt  in  1885;  studied  later  at  the  Institute 
for  Church-music  .at  Ratisbon;  from  1888- 
1914,  prof,  of  church-music  at  St.  Patrick's 
College,  Maynooth  (Ireland);  since  then  prof, 
of  music  at  Dublin  College  of  the  Irish  Nat. 
Univ. — Wrote  Die  vatikanische  Choralausgahe 
(2  parts,  Dusseldorf,  1906-7;  also  in  English 
and  French);  many  valuable  articles  for 
'Musica  Sacra,'  Haberi's  'Kchm.  Jahrb.', 
'The  Irish  Ecclesiastical  Record,'  'The  Catho- 
lic Encyclopaedia';  also  transl.  into  English 
Riemann's  Katech.  der  Musikdsthetik  and 
Vereinfachte  Harmonielehre.  From  1891-3  he 
edited  'Lyra  Ecclesiastical 

Bexfield,  William  Richard,  b.  Norwich, 
England,  April  27,  1824;  d.  London,  Oct.  29, 
1853.  Pupil  of  Dr.  Z.  Buck;  org.  of  Boston 
ch.  Lincolnshire;  from  1848,  at  St.  Helen's, 
London.  Took  degree  of  Mus.  Bac.  at  Ox- 
ford, 1846;  Mus.  Doc.  at  Cambridge,  1849.— 
Works:  An  oratorio,  Israel  Restored  (1852);  a 
cantata,  Hector's  Death;  anthems,  organ- 
fugues,  part-songs,  songs,  etc. 

Bey'er  [bi],  Johann  Samuel,  b.  Gotha, 
1669;  d  Karlsbad,  May  9,  1744.    In  1697, 


cantor  at  Freiberg,  Saxony;  1722,  at  Weis- 
senfels;  1728,  Musikdirektor  at  Freiberg. 
Publ.  Primae  lineae  musicae  vocalis  (1703); 
Musikal.  Vorrath  neu  variirter  Festchoralge- 
sdnge  (1716);  and  Geistlich-musikalische  See- 
lenfreude  (1724;  72  concert-arias,  etc.). 

Bey'er,  Rudolf,  b.  Wilthen,  n.  Bautzen, 
Feb.  14,  1828;  d.  Dresden,  Jan.  22,  1853. 
Music- teacher  and  comp.  of  songs,  chamber- 
music,  music  to  O.  Luawig's  Maccabder,  etc. 

Beyle,  Marie- Henri.    See  Stendhal. 

Bey'schlag,  Adolf,  b.  March  22,  1845,  at 
Frankfort-on- the- Main.  Pupil  of  V.  Lach- 
ner  in  Mannheim;  1868-80,  Kapellm.  of  the 
theatres  at  Treves  and  Cologne,  and  concert- 
director  at  Mayence  and  Frankfort;  then 
conductor  of  the  Philh.  Soc.  in  Belfast, 
deputy -conductor  for  Halle  in  Manchester, 
and  conductor  of  the  Leeds  Philh.  Soc.  and 
subscription  concerts;  has  lived  since  1902 
in  Berlin  ('Royal  Prof.'  in  1907).  His  valu- 
able work  on  Die  Ornamenlik  der  Musik  was 
published  1908  (l,eipzig);  he  has  also  publ. 
4-hand  Dances  for  pf.,  in  canon-form;  songs; 
and  arrangements. 

Biag'gi  [b'yah'j€],  Girolamo  Alenandro, 

b.  Milan,  Feb.  2,  1819;  d.  Florence,  March 
21,  1897.  Pupil  of  Milan  Cons.,  1829-39  (vln.; 
comp.) ;  after  a  visit  to  France,  he  returned  to 
Milan;  was  for  a  short  time  m.  di  capp.; 
wrote  an  opera,  Martina  delta  Scala;  was  for 
some  years  (circa  1847)  editor  of  the  'Italia 
Musicale'  (Milan;  Lucca);  wrote  an  essay, 
Delia  musica  rdigiosa  e  delle  questioni  inerenti 
(Milan:  Ricordi,  1857);  then  settled  in 
Florence  as  prof,  of  mus.  hist,  and  esthetics 
at  the  newly  established  Reale  Istituto 
Musicale,  writing  articles  for  'La  Nazione,' 
and  the  review  'La  Nuova  Antologia'; 
later  for  the  'Gazzetta  d' Italia,'  under  the 
pen-name  I  pool  i  to  d'AIbano.  He  left  an  un- 
finished Vita  di  Rossini.  The  tendency  of  his 
writings  is  conservative. — Other  works:  Con- 
ferenze  su  la  riforma  melodrammatica  Fioren- 
Una;  Sugli  istrumenti  a  pizzico;  and  La 
Musica  del  Secolo  XVII  (1894). 

Bial  [be'-],  Rudolf,  b.  Habelschwerdt, 
Silesia,  Aug.  26,  1834;  d.  New  York,  Nov. 
13,  1881.  Violinist  in  Breslau  orch.;  then 
made  a  tour  in  Africa  and  Australia  with  his 
brother  Karl;  settled  in  Berlin  as  conductor 
of  the  Kroll  Orch.,  and  (1864)  Kapellm.  of 
the  Wallner  Th.,  where  his  numerous  farces, 
operettas,  etc.,  have  been  performed;  later, 
cond.  of  Italian  opera  in  Berlin,  and  (1878) 
concert-agent  in  New  York. 

Bian'chi  [-ke],  Bianca  (rectius  Bertha 
Schwarz),  high  soprano  opera-singer;  b.  in  a 
village  on  the  Neckar,  J  une  27, 1 858.  Pupil  of 
Wilczek   (Heidelberg)    and    Mme.   Viardot- 


85 


BIANCHI— BIEHLE 


Garcia  (Paris),  Pollini  paying  her  expenses 
and  then  engaging  her  for  10  years.  Debut 
at  Karlsruhe,  1873,  as  Barbenna  in  Figaro. 
Sang  at  London  for  Pollini  only  till  1876;  then 
at  Mannheim,  Karlsruhe,  and  Vienna  (1880). 
Since  1902,  teacher  in  the  Munich  A  lead,  der 
Tonkunst.    In  1897  she  married  Pollini. 

Bian'chl,  Eliodoro,  opera-composer. — 
Works:  Gara  d'amore  (Ban,  1873);  Sarah; 
Almanzor. 

Bian'chi,  Francesco,  b.  Cremona,  1752; 
d.  by  suicide  at  Hammersmith,  Nov.  27, 
1810.  From  1775-8,  m.  al  cembalo  at  Italian 
Opera,  Paris,  where  his  first  opera,  La  reduc- 
tion de  Paris,  was  prod.  (1775) ;  up  to  1800  he 
wrote  47  operas  of  pleasing  but  ephemeral 
quality;  went  to  Florence,  1780;  to  Venice, 
1785,  as  org.  at  San  Marco;  and  to  London, 
1793,  ascond.  at  the  King's  Th.;  1797-1801, 
opera -cond.  in  Dublin.  —  His  treatise  Del- 
Vatlrazione  afmonica  w as  never  publ.  He  was 
the  teacher  of  H.  R.  Bishop. — See  Q.-Lex. 

Bian'chi,  Valentine,  soprano  stage-singer; 
b.  Wilna,  1839;  d.  Candau,  Kurland,  Feb.  28, 
1884.  Studied  at  Paris  Cons.;  debut  Frank- 
fort, 1855;  eng.  at  Schwcrin  (1855-61),  Stet- 
tin, Pctrograd  (1862-5),  and  Moscow  (until 
1867) ;  retired  1870.  She  married  chief  forester 
von  Fabian  in  1865.  Her  range  was  extra- 
ordinary, including  practically  alto  and  so- 
prano range  (J-e*). 

Bianchini  [b'yahn-ke'ne],  Pietro,  b.  Ven- 
ice, Oct.  18,  1828.  Began  as  violinist  in  the 
Fenice  Th.  orch.;  1869  m.  di  capp.  at  Feltre; 
1871,  Conegliano;  1874,  Parcnzo  d'lstria; 
1878-87  at  Trieste  as  teacher  of  yln.,  cpt. 
and  comp.;  then  director  of  the  Music  School 
of  the  'Padri  Armeni,'  Venice. — Works: 
Symphonies,  string-quartets  and  trios,  masses, 
songs,  and  pf  .-music. 

Bl'ber[be-],  Aloys,  distinguished  Bavarian 
piano-maker;  b.  Ellingen,  1804;  d.  Munich, 
Dec.  13,  1858. 

Bi'ber,  Heinrich  Johann  Franz  von,  b. 

Wartenbcrg,  Bohemia,  Aug.  12,  1644;  d.  Salz- 
burg, May  3,  1704.  Noteworthy  violinist  and 
composer,  one  of  the  founders  of  the  German 
school  of  violin-playing,  and  among  the  first 
to  employ  the  •scordatura.'  Was  successively 
in  the  service  of  the  Emperor  l.copold  I  (who 
ennobled  him),  the  Bavarian  court,  and  the 
Archbishop  of  Salzburg.  He  publ.  a  number 
of  vln.-sonatas  (one  is  in  David's  'Hone 
Schule'),  and  other  pieces;  8  vln.-sonatas  are 
publ.  in  vol.  v,  2,  of  'Dkm.  d.  Tonk.  in  Oster- 
reich,'  and  16  more  in  vol.  xii,  2.  There  are 
also  preserved  in  MS.  the  scores  of  2  operas, 
Chila  dura  la  vince  (Salzburg,  1681),  and  L'os- 
sequio  di  Salisburgo  (ib.,  1699);  2  requiems; 
offertories  a  4;  etc.— Biogr.  by  Luntz  (1906). 


Bibl,  Rudolf,  b.  Vienna,  Jan.  6,  1832; 
d.  there  Aug.  2,  1902.  Pupil  of  his  father, 
Andreas  B.  (org.,  d.  1878)  and  S.  Sechter; 
app.  org.  at  St.  Peter's,  1850;  1859  at  St. 
Stephens Cath.;  1863, 'Hof org/;  1897,  'Hof- 
kapellm.'  He  was  a  famous  virtuoso  and  a 
composer  of  merit. — Works:  4  masses  with 
orch.,  op.  53,  58,  67,  88;  1  mass  a  capp.,  op. 
82;  a  requiem  in  C  m.,  op.  79;  do.  in  D  m., 
op.  84;  concerto  for  organ  w.  orch.,  op.  68; 
sonata  for  organ  in  D  m.,  op.  74;  sonata  for 
vln.  and  pf.,  on.  42;  preludes  and  fugues  for 
organ;  pieces  for  pf.;  also  wrote  an  Orgel- 
schule,  op.  81. 

Bidez  [be-daV],  L.  Aloys,  b.  near  Brussels, 
Aug.  19,  1847.  Educated  for  the  bar,  he  went 
to  the  U.  S.  in  1876,  and  taught  music  there 
for  25  years.  Was  one  of  the  early  lecturers 
and  vice- presidents  of  the  M.  T.  N.  A.,  and  a 
charter-member  of  the  A.  C.  M.  Publ.  The 
Art  of  Fingering  (1877).  Numerous  composi- 
tions for  pf.,  other  instrs.,  the  voice,  etc.; 
3-act  operetta  The  Stratagem;  monody  with  . 
orch.,  Out  of  Darkness  into  Light;  pf.-con- 
certo  in  Eb  m.;  etc.  Since  1904  residing  in 
Belgium. 


Bie  [be],  Dr.  Oskar,  b.  Breslau,  Feb.  9, 


Art  at  the  Technischc  Hochschule  in  Berlin; 
1901,  prof.;  ed.  of  4Neue  Rundschau'  and 
mus.  critic  of  Berlin  'Borsen-Courier.'  Be- 
sides writing  about  painting  and  the  plastic 
arts,  he  has  also  written  on  music:  Das  Kla- 
vier  und  seine  Meister  (1898;  2d  ed.  1901); 
Intime  Musik  (1904);  Tansmusik  (1905);  Die 
moderne  Musik  u.  R.  Strauss  (1906;  for  S.); 
Klavier,  Orgel  u.  Harmonium  (1910);  Die 
Oper  (1913). 

Bie'dermann  [be-],  Edward  Julius,   b. 

Milwaukee,  Wis.,  Nov.  8,  1849.  Son  and 
pupil  of  A.  Julius  B.;  also  studied  pf.,  org. 
and  theory  in  Germany,  1858-64.  Organist 
in  turn  at  various  New  York  churches;  at 

F resent  (1916)  at  St.  Francis  dc  Sales  (R.  C). 
las  lived  for  50  years  in  N.  Y.  as  a  teacher. 
— Works:  6  grand  masses  for  soli,  ch.,  org.  and 
orch.;  a  number  of  anthems;  vocal  ducts  and 
solos  (sacred  and  sec.) ;  choruses  for  male  vcs. 

Blehle,  Johannes,  b.  Bautzen,  June  18, 
1870.  Pupil  at  the  Cons,  at  Dresden;  later 
studied  also  at  the  'Technische  Hochschule'; 
since  1898  cantor  at  the  Cath.  in  Bautzen; 
founded  in  1905  the  'Lausitzer  Musikfeste/ 
which  have  been  very  successful;  app. 
'Kirchenmusikdirektor'  in  1908.  He  attracted 
considerable  attention  with  his  two  books 
Theorie  der  pneumatischen  Orgeltraktur  u.  die 
SteUung  des  Spiellisches  (Leipzig,  1911)  and 


86 


BIEREY— BINCHOIS 


Theorie  des  Kirchenbaues  vom  Standpunkie  des 
Kirchenmusikers  u.  des  Redners  ....  mil 
einer  Glockenkunde  (Wittenberg,  1913). 

Bierey  [be'ri],  Gottlob  Benedikt,  b. 
Dresden,  July  25,  1772;  d.  Breslau,  May  5, 
1840.  Pupil  of  C.  E.  Weinlig,  Dresden;  was 
director  of  a  travelling  opera-troupe  until  the 
success  of  his  opera  Wladimir  (Vienna,  1807) 
caused  his  app.  as  Kapellm.  at  Breslau,  succ. 
Weber  (1808);  he  was  theatre-director  there 
1824-8,  when  he  retired. — Works:  26  operas 
and  operettas;  10  cantatas;  masses,  orchestral 
and  chamber-music,  etc. — See  Q.-Lex. 

Blernackl  [b'yar-naht'skej,  Michael  Ma- 
rian, b.  Lublin,  Poland,  Sept.  9, 1855;  pupil  of 
Warsaw  Cons. ;  chorus-conauctor  in  Warsaw. — 
Works:  Prologue  for  orch.;  cantata  Traum 
und  Kabale;  2  masses,  and  an  IdylU,  for  ch. 
and  orch.;  a  Romanze  and  a  Suite  for  violin 
with  pf.;  piano-pieces;  songs. 

Biese  [be'ze],  Wilhelm,  b.  Rathenow, 
April  20,  1822.  Piano-maker  (chiefly  up- 
rights); est.  1853  in  Berlin,  where  he  died 
Nov.  14,  1902. 

Bignami  [be-nah'm€],  Carlo,  called  by 
Paganini  'il  primo  violinista  d 'Italia';  b.  Cre- 
mona, Dec.  6, 1808;  d.  Voghera,  Aug.  2,  1848. 
Was  in  turn  opera-conductor  at  Cremona 
(1827),  Milan,  and  (1833)  Verona;  returning 
to  Cremona  1837,  he  became  director  and 
first  violin  of  the  orchestra,  and  made  it  one 
of  the  best  in  Lombardy. — Works:  A  violin- 
concerto;  Capricct  o  Studt  per  violino;  Fan- 
tasias; Grande  Adagio;  Polacca;  Variations, etc. 

Bignaml,  Enrico,  b.  1836;  d.  Genoa, 
February,  1894.  Violinist  and  composer. — 
Operas:  Anna  Rosa  (Genoa,  '92,  succ);  Gian 
Luigi  Feschi  (never  produced). 

Bigot  [bi-g5h'],  Marie  {nee  Klene),  b.  Kol- 
mar,  Upper  Alsatia,  March  3,  1786;  d.  Paris, 
Sept.  16,  1820.  A  distinguished  pianist,  she 
lived  for  years  in  Vienna,  where  she  was 
known  and  esteemed  by  Haydn  and  Beet- 
hoven; went  to  Paris  in  1808,  and  gave 
piano-lessons  from  1812  on  (Mendelssohn  was 
ner  pupil  in  1516). 

Billion  (or  Billon)  [be-y6hn'],  Jean  de, 
singer  in  the  Papal  Chapel,  first  half  of  16th 
century.  Masses,  magnificats,  and  motets  by 
him  are  in  collections  (1534-44). 

Billeter,  Agathon,  b.  Mannedorf,  Lake 
of  Zurich,  Nov.  21,  1834.  Studied  at  Leipzig 
Cons.,  and  became  organist  and  conductor  at 
Burgdorf,  Switzerland.  Very  popular  comp. 
of  part-songs  for  men's  voices. 

Billings,  William,  b.  Boston,  Mass.,  Oct. 
7,  1744;  d.  there  Sept.  29,  1800.  Writer  of 
hymn-tunes,  anthems,  etc.,  of  which  he  publ. 
several  collections:  The  New  England  Psalm- 
Singer  (1770),  The  Singing  Master's  Assistant 


(1776),  Music  in.* Miniature  (1779),  The 
Psalm  Singer's  Amusement  (1781),  The  Suf- 
folk Harmony:  Containing  Tunes ,  Fugues  and 
Anthems  (1786),  The  Continental  Harmony 
(1794).  Billings  was,  in  his  rough  way,  a 
pioneer  of  good  church-music  in  America;  he 
first  used  the  pitch-pipe,  introduced  the  'cello 
into  church-choirs,  and  is  said  to  have 
originated  concerts  in  New  England. 

Billington,  Elizabeth  (nee  Welchsel), 

b.  London,  circa  1768;  d.  near  Venice,  Aug. 

25,  1818.  Her  father  and  first  teacher  was  a 
German  clarinettist;  Joh.  Chr.  Bach  taught 
her  later.  She  was  a  soprano  stage-singer  of 
great  beauty,  yet  a  poor  actress;  her  voice  is 
said  to  have  been  marvellous,  and  of  wide 
range  (3  full  octaves,  from  a-a*).  In  1784 
she  married  James  Billington,  a  double-bass 

Slayer;  they  went  to  Dublin,  where  she  made 
er  debut  in  opera  in  Orpheus  and  Eurydice;  at 
London  she  first  appeared  as  Rosetta  in  Love 
in  a  Village  (Covent  Garden,  1786),  and  her 
success  led  to  an  engagement.  She  remained 
in  London  till  1794;  sang  in  Naples  1794  (in 
which  year  her  husband  died),  and  at  Venice 
1796;  married  a  M.  Felissent,  1799,  but  soon 
left  him,  returned  to  London,  and  sang  at 
Drury  Lane,  Covent  Garden,  and  the  Ancient 
and  Vocal  Concerts  1801-11,  then  retiring. 
In  1817  she  was  reconciled  to  M.  Felissent, 
and  withdrew  to  her  estate  of  St.  Artien, 
near  Venice. 

BilTroth  [-roht],Theodor,  an  eminent  sur- 
geon, b.  Bergen,  on  the  island  of  Rugen,  Apr. 

26,  1829;  d.  Abazzia,  Feb.  6,  1894.  He 
received  a  thorough  musical  education,  and 
was  an  excellent  pianist.  He  was  an  inti- 
mate friend  of  Hanslick  and  Brahms,  and 
during  his  residence  at  Vienna  (1867  till  his 
death)  the  musical  soirees  at  his  house  were 
famous.  It  was  at  B.'s  house  that  almost 
all  the  chamber-music  of  Brahms  was  per- 
formed before  it  had  its  first  performance  in 
public.  He  wrote  Wer  ist  musikalisch?  (1896, 
ed.  by  Hanslick;  4th  ed.  1912).  Georg 
Fischer  edited  Brief e  BUlroths  (1895;  7th  ed. 
1906). 

BiTse,  Benjamin,  b.  Liegnitz,  Aug.  17, 
1816;  d.  there  July  13,  1902.  He  was  'Stadt- 
musikus'  at  Liegnitz  (1843),  and  brought 
his  orchestra  to  a  remarkable  degree  of  per- 
fection, so  that  his  concerts  and  concert- 
tours  were  social  events.  From  1868-84  he 
was  est.  at  the  'Concerthaus'  in  Berlin,  and 
gave  very  popular  concerts.  He  retired  1894 
with  the  title  of  'Hofmusikus.'  Comp.  of 
some  good  dances  and  marches.  ' 

Binchols  [ban-shwah'],  (Gilles  de  Binche, 
called  Binchols),  b.  Binche  (or  Bins),  in 
Belgian  Hainaut,  circa  1400;  d.  Lille,  1460; 
was  one  of  the  earliest  composers  of  the 
first  Netherland  School.     Of  his  works,   7 


87 


BINDER— BIRNBACH 


movements  of  masses,  52.  secular  chansons, 
and  10  or  12  sacred  songs,  are  preserved;  in 
modern  notation  have  been  publT  7  Chansons 
(1892,  Riemann);  7  ditto  (1898,  in  Stainer's 
'Dufay');  and  6  ditto,  with  2  sacred  works,  in 
the  'Dkm.  d.  Tonkunst  in  Osterreich',  vols,  vii 
and  xi,  1. 

Bin  der,  Christlieb  Siegmund,  b.  1724; 
d.  Dresden,  Tan.  1,  1789.  In  1753  organist  at 
the  Hofkirche  in  Dresden.  A  very  prolific 
composer,  one  of  the  first  writing  in  the  'ele- 
gant style'  akin  t6  that  of  Ph.  E.  Bach.  He 
publ.  sonatas  for  clavicembalo  solo,  for  clavic. 
with  vln.,  and  for  clavic.  with  vln.  and  'cello; 
in  MS.  have  been  preserved  76  organ-pre- 
ludes, many  concertos  for  clavic,  quartets  with 
clavic,  and  trio-sonatas  for  2  vlns.  with  basso 
cont.  Some  of  his  comps.  have  been  reprinted 
by  O.  Schmid  in  'Musik  am  sachsischcn  Hofe.' 

Binder,  Fritz,  b.  Baltimore.  Md.,  1873; 
taken  to  Germany  at  the  age  of  5,  and  from 
7  to  1 1  played  as  a  child-pianist  in  Germany, 
Austria,  Switzerland,  and  the  Netherlands. 
His  first  teachers  were  Reinthaler  and 
Bromberger;  for  3  years  he  was  taught  by 
Leschetizky,  and  on  Rubinstein's  recom- 
mendation entered  the  Cologne  Cons.  (Wlill- 
ner,  Seiss,  Franke,  Jensen),  graduating  in 
1896  to  conduct  a  choral  society  at  Solingen. 
In  1901,  app.  director  of  the  Singakademie 
at  Danzig.  Also  cond.  of  the  subscription 
concerts  given  by  the  theatre-orch.,  and  dir. 
of  the  Cons. 

Binder,  Karl,  b.  Vienna,  Nov.  29,  1816; 
d.  there  Nov.  5,  1860.  Kapellm.  at  Josef- 
stadter  Th.,  1839-47;  went  to  Hamburg, 
thence  to  Presburg,  and  then  returned  to 
Vienna. — Works:  Der  Wiener  Schuster  hut 
(melodr.,  1840) ;  Die  3  WUtfrauen  (opera,  1841) ; 
Pvnd  (vaudev.,  1843);  overture  and  choruses 
to  Elmar,  a  drama;  a  parody  on  Tannhduser 
(1857);  psalms  w.  orch.;  songs  w.  pf. 

Binder,  Karl  Wilhelm  Ferdinand, 
celebrated  harp-maker  at  Weimar  c.  1797, 
was  b.  Dresden,  1764;  regarded  as  the  in- 
ventor of  the  *mecanique  &  jour'  harp. 

Bion'di,  Giovanni  Battista  (da  Cesena), 
b.  Cesena;  a  Minorite  friar. — Publ.  a  numer- 
ous series  of  motets  a  4  and  5,  masses  a  3 
and  5,  litanies,  vesper  psalms,  Compiete, 
Concerti,  etc.,  at  Venice  (1606-1630).— See  Q.- 
Lex. 

Bio'ni,  Antonio,  dramatic  composer;  b. 
Venice,  1698,  d.  (?).  He  wrote  26  operas, 
a  few  for  Italy,  but  most  for  Breslau,  where 
he  was  mus.  director  and  manager  of  an 
Italian  opera-troupe  1726-33. 

Blrch'all,  Robert,  London  music-publ. ; 
d.  1819.  His  circulating  mus.  library  was 
one  of  the  first  ever  established.  His  suc- 
cessors were  Lonsdale  &  Mills. 


88 


Birckenstock  [beVken-],  Johann  Adam, 

violinist;  b.  Alsfeld,  Hesse-Darmstadt,  Feb. 
19,  1687;  d.  Eisenach,  Feb.  26,  1733;  in  1721 
leader,  1725  Kapellm.,  at  Kassel;  1730-33, 
Kapellm.  at  Eisenach. — Works:  12  vln.- 
sonatas  w.  basso  continuo  (Amsterdam, 
1722);  12  do.  (1730);  12  concertos  f.  4  vlns. 
obbl.,  via.,  'cello,  and  basso  cont.  (1730). 

Bird,  Arthur,  b.  Cambridge,  Mass.,  July 
23,  1856.  St.  in  Berlin,  1875-7,  under 
Haupt,  Loeschhorn,  and  Rohde.  Returning 
to  America,  he  became  organist  at  the  Kirk, 
Halifax,  N.  S.;  also  teaching  at  the  Young 
Ladies'  Acad,  and  the  St.  Vincent  Acad.  He 
founded  the  first  male  chorus  in  Nova 
Scotia.  In  1881,  at  Berlin,  he  studied  com  p. 
and  orchestration  with  H.  Urban;  the  season 
of  1885-6  was  spent  with  Liszt  at  Weimar. 
His  first  concert  (1886),  at  Berlin,  was 
successful;  the  same  year,  B.  paid  his  last 
visit  to  America,  and  has  since  lived  in  Berlin 
(Grunewald). — Works:  A  symphony  in  A, 
Kamevalssene,  and  3  suites  f.  orch.;  2  Deri- 
mettes  f.  wind-instrs.  (won  Paderewski  prize, 
1901).  For  pf.:  PupfetUanu  (4  pes.),  op.  10;  3 
characteristic  marches,  op.  11;  3  waltzes, 
op.  12;  Zwei  Poesien  f.  4  hands;  Introd. 
and  Fugue;  Variations  and  Fugue;  3  Suites; 
Sketches;  Ballet-music;  2  pes.  f.  pf.  and  vln., 
etc.;  Oriental  Scenes  for  organ;  the  comic 
opera  Daphne  (New  York,  1897),  and  a 
ballet,  Rubexahl. 

Bird,  Henry  Richard,  distinguished  org.; 
b.  Walthamstow,  Nov.  14,  1842;  d.  London, 
Nov.  21,  1915.  Pupil  of  his  father  and  J. 
Turle;  came  to  London  in  1859,  filled  various 
positions  as  org.,  and  conducted  the  'Chelsea 
Choral  and  Orchestral  Society';  app.  org.  at 
St.  Mary  Abbott's,  Kensington,  a  position  he 
occupied  until  his  death;  was  also  prof,  of 
pf.  at  R.  C.  M.  and  Trinity  Coll.  from  1896. 
He  was  famous  throughout  England  as  an 
unexcelled  accompanist,  and  in  constant 
demand  by  the  foremost  artists;  app.  perm, 
accompanist  of  the  'Popular  Concerts'  in 
1891. 

Bird,  William.    See  ByrdT 

Bir'kler,  Georg  Wilhelm,  b.  Buchau, 
Wurttemberg,  May  23,  1820;  d.  June  10, 
1877,  as  prof,  at  Ehingen  (Wilrtt.)  gym- 
nasium.— Comp.  masses,  vesper  psalms,  etc., 
for  mixed  ana  men's  voices;  wrote  about 
old  church-music  in  Catholic  mus.  papers. 

Birnbach  [bern'bah],  (Joseph  Benja- 
min) Heinrich,  son  of  Karl  Joseph  B.;  b. 
Breslau,  Jan.  8,  1795;  d.  Berlin,  Aug.  24, 
1879.  Pianist,  pupil  of  his  father;  teacher  in 
Breslau,  1814-21,  then  in  Berlin,  where  he 
founded  a  musical  institute;  Nicolai,  Kiicken 
and  Dehn  were  among  his  pupils. — Works: 
2  symphonies,  and  2   overtures,  for  orch.; 


BIRNBACH— BISPHAM 


concertos  f.  pf.,  and  f .  oboe,  clar.,  and  guitar; 
quintet;  duos;  fantasias  and  sonatas  f.  pf.; 
etc. ;  and  a  treatise,  Der  vollkommene  Kapell- 
meister (1845). 

Birn'bach,  Karl  Joseph,  b.  Kdpernick, 
Silesia,  1751;  d.  Warsaw,  May  29,  1805,  as 
Kapellm.  of  the  German  Theatre. — Works: 
2  operas;  oratorios,  cantatas,  masses;  10 
orchestral  symphonies,  16  pf.-concertos,  10 
vln. -concertos;  many  quartets  and  quintets; 
pf. -music;  etc. 

Bisaccia  [-zaht'chah],  Giovanni,  b.  1815; 
d.  Naples,  Dec.  20,  1897.  Pupil,  in  Cons, 
of  S.  Pietro  a  Majella,  of  Crescentini  (singing) 
and  Raimondi  and  Donizetti  (comp.).  A 
singer  in  the  Nuovo  and  San  Carlo  theatres; 
later  singing-teacher,  also  m.  di  capp.  in  the 
church  of  San  Fernando,  for  which  tie  wrote 
some  musk.  In  1838  he  brought  out  2  mus. 
1-act  farces,  I  tre  scioperati  and  II  figlio 
adottvoo  (Cons,  theatre) ;  and  in  1858  an  opera 
buffa  Dom  Taddeo,  owero  la  Solachianello  di 
Casoria  (Teatro  Nuovo). 

Bisch'off,  Georg  Friedrich,  the  founder, 
of  the  German  mus.  festivals;  b.  Ellrich, 
Harz  Mts.,  Sept  21,  1780;  d.  Hildesheim, 
Sept.  7,  1841,  where  he  had  been  musical 
director  since  1816.  He  arranged  the  first 
Thuringian  Festival  at  Frankennausen  (July 
20  and  21,  1810),  at  which  Spohr  acted  both 
as  conductor  and  soloist. 

Bisch'off,  Hans,  accomplished  pianist  and 
teacher;  b.  Berlin,  Feb.  17,  1852;  d.  Nieder- 
schonhausen,  near  Berlin,  June  12,  1889. 
Pupil  of  Th.  Kullak  and  R.  Wuerst,  and 
also  student  at  Berlin  Univ.  {Dr.  phil.,  1873); 
1873,  teacher  of  pf.  at  Kullak's  Acad.;  1879, 
also  of  pedagogics;  also  taught  at  Stern 
Cons,  for  a  short  time  and  conducted  (with 
Hellmich)  the  Monday  Concerts  of  the 
Berlin  'Singakademie.'  He  edited  the  2nd 
and  3rd  editions  of  Dr.  Ad.  Kullak's  Asthctik 
des  Klavierspiels  (Berlin,  1876  and  1889; 
English  translation  New  York,  1895);  publ. 
an  Auswahl  Handel' scher  Klavierwerke ;  a 
Kritische  Ausgpbe  von  J.  5.  Bach's  Klavier- 
werken;  etc. 

Bisch'off,  Hermann,  b.  Duisburg,  Jan.  7, 
1868.  Pupil  of  Jadassohn  at  the  Leipzig 
Cons.;  living  in  Munich.  Has  written  2  sym- 
phonies (E  and  D  m.);  a  symph.  poem,  Pan; 
GewiUersegen;  also  Das  deutsche  Lied  (1905). 

Bisch'off,  Kaspar  Jakob,  b.  Ansbach, 
Apr.  7,  1823;  d.  Munich,  Oct.  26,  1893, 
where  he  studied  (1842)  under  Ett,  Stuntz, 
and  Franz  Lachner,  and  1848-9  in  Leipzig. 
Founded  (1850)  an  'Evangelical  Sacred  Choral 
Society'  at  Frankfort,  where  he  lived  as  a 
singing-teacher. — Works:  An  opera,  Maske 
una    Mantilla    (Frankfort,    1852);    3    sym- 


89 


phonies;  overture  to  Hamlet;  chamber-  and 
church-music,  etc.;  also  a  Manual  of  Harmony 
(1890). 

Bisch'off,  Ludwig  Friedrich  Christian, 

b.  Dessau  (where  his  father,  'Karl,  was 
court-musician),  Nov.  27,  1794;  d.  Cologne, 
Feb.  24,  1867.  1823-49,  director  of  gym- 
nasium at  Wesel;  founder  (1850)  and  editor 
of  the  'Rheinische  Musikzeitung'  at  Cologne, 
superseded  (1853)  by  the  'Niederrheinische 
Musikzeitung';  he  translated  Oulibicheff's 
Beethoven  (1859)  into  German. 

Bishop,  Sir  Henry  Rowley,  noted  English 
composer;  b.  London,  Nov.  18,  1786;  d. 
there  Apr.  30,  1855.  Pupil  of  Francesco 
Bianchi;  attracted  attention  by  his  first 
opera,  The  Circassian  Bride  (Drury  Lane, 
1809);  1810-11  comp.  and  cond.  at  Covent 
Garden,  1813  alternate  cond.  of  the  Philhar- 
monic, 1819  oratorio-cond.  at  Covent  Garden, 
1825  cond.  at  Drury  Lane  Th.,  1830  Musical 
Director  at  Vauxhall;  took  degree  of  Mus. 
Bac.  at  Oxford,  1839;  1840-1,  mus.  dir.  at 
Covent  Garden;  1841-3,  Prof,  of  Mus.  at 
Edinburgh;  knighted  in  1842;  cond.  of  Ancient 
Concerts,  1840-8;  in  1848  was  app.  Prof,  of 
Mus.  at  Oxford  (succeeding  Dr.  Crotch), 
where  he  received  the  degree  of  Mus.  Doc. 
in  1853.  A  remarkably  prolific  dramatic 
composer,  having  produced  about  130  operas, 
farces,  ballets,  adaptations,  etc.  His  operas 
are  generally  in  the  style  of  English  ballad- 
opera;  some  of  the  best  are  Cortez,  The  Fall 
of  Algiers,  The  Knight  of  Snowdon,  and 
Obcron.  He  also  wrote  The  Fallen  Angel 
(oratorio),  The  Seventh  Day  (cantata),  etc.; 
his  glees  and  other  lyric  vocal  productions 
are  deservedly  esteemed.  (An  article  on  the 
Glees,  by  G.  A.  Macfarren,  is  in  the  'Musical 
Times'  of  1864,  April  et  seq.)  He  publ.  vol. 
i  of  Melodies  of  Various  Nations;  also  3  vols, 
of  National  Melodies,  to  which  Moore  wrote 
the  poems. 

Blspham  [bisp'h'm],  David  (Scull),  ad- 
mirable dramatic  and  concert  baritone;  b. 
Philadelphia,  Jan.  5,  1857.  He  sang  at 
first  as  an  amateur  in  the  principal  choruses 
of  Philadelphia,  and  the  choirs  of  Holy 
Trinity  and  St.  Mark's  churches,  also  in 
private  theatricals.  In  1886  he  went  to 
Milan,  studying  there  with  Vannuccini,  Hall, 
and  (1887-90)  Francesco  Lamperti;  later  in 
London  with  Shakespeare  and  Randegger. 
Professional  operatic  debut  as  Longueville 
in  Messager's  Basoche  at  the  R.  Engl.  Opera 
House,  London,  Nov.  3,  1891,  and  4won 
immediate  favour  by  his  humorous  acting 
and  artistic  singing'  [Grove].  First  appear- 
ance in  serious  opera  at  Drury  Lane,  June  25, 
1892,  as  Kurwenal,  one  of  his  best  parts; 
the  baritone  roles  in  Wagner's  operas  are  his 
specialties,  particularly  Beckmcsser.     After 


BITTER— BLACK 


the  autumn  of  1896  he  divided  his  time 
between  Covent  Garden  and  the  New  York 
Metropolitan  Opera  (down  to  1908-9).  He 
created  the  r6Ies  of  William  the  Conaueror 
in  Cowen's  Harold,  Chillingsworth  in  Dam- 
rose  h's  The  Scarlet  Letter  (Boston,  Feb.  10, 
1896),  Benedick  in  Stanford's  Much  Ado 
about  Nothing,  and  Rudolph  in  Miss  Smyth's 
Der  Wold.  Some  of  his  other  rdles  (favorites 
in  sm.  caps.)  are  Pizzarro;  Caspar  and 
Ottokar  (Freischutz);  Mephistopheles  and 
Valentin;  Escamillo  (Carmen);  De  Nevers; 
Figaro  (Nozze);  Tonio  and  Silvio  (Pagliacci); 
Alfio  (CavaUeria  Rusticana);  Vulcan  (Phil,  et 
Baucis);  Mefisto  (Mefistofele,  Boito);  Phi- 
lippo  (Don  Carlos);  Iago;  Falstaff;  Manru; 
Johannes  (Evangelimann) ;  Peter  (Hansel  und 
Gretel);  Fiorenzo  (Rantzau).  In  1895  he 
sang  the  part  of  Christ  in  the  St.  Matthew 
Passion  at  the  Bach  Festival,  and  has  suns 
chief  parts  in  Perosi's  oratorios.  For  several 
seasons  he  gave  series  of  recitals  in  London 
and  New  York,  being  the  first  to  sine  Brahms's 
'Four  Serious  Songs  in  Britain  and  America. 
In  recitation  (Enoch  Arden,  with  R.  Strauss's 
incid.  music;  A  Midsummer  Night* s  Dream, 
with  Mendelssohn's  music;  etc.)  he  has 
made  a  deep  impression.  In  fact,  his  recitals 
became  so  successful,  that  he  abandoned 
opera  after  1909.  He  is  also  a  strong  advocate 
of  the  use  of  the  vernacular  in  all  operatic 
productions  in  the  U.  S.,  and  was  probably 
the  first  artist  to  sing  all  songs  at  his  recitals 
in  English  translations. 

Bitter,  Karl  Hermann,  b.  Schwedt-on- 
Oder,  Feb.  27,  1813;  d.  Berlin,  Sept.  12, 
1885.  From  1879-82,  Prussian  Minister  of 
Finance.  Wrote  Joh.  Seb.  Bach  (1st  ed. 
1865,  2  vols.;  2nd,  1881,  4  vols.;  abridged 
Engl.  ed.  by  Shuttleworth,  1873);  Mozart's 
Don  Juan  and  Gluck's  Iphigenia  in  Tauris; 
ein  Versuch  neuer  Obersetzungen  (1866);  K. 
Ph.  E.  und  W.  Friedemann  Bach  und  deren 
Briider  (1868,  2  vols.);  Ober  Genrinus1  'Handel 
u.  Shakespeare*  (1869);  Beitrdge  zur  Gesch. 
des  Oratoriums  (1872);  Studie  zum  Stabat 
Mater  (1883);  Die  Reform  der  Oper  durch 
Gluck  und  Wagner  (1884);  editor  of  Karl 
Loewe's  Autobiography  (1870). 

Bittner,  Julius,  b.  Vienna,  Apr.  9,  1874. 
Studied  jurisprudence,  and  at  the  same  time 
music  with  J.  Labor;  won  the  Mahler  prize 
(founded  1912  for  the  encouragement  of 
composers)  in  1915.  Wrote  the  operas  Die 
rote  Gret  (Vienna,  1907),  Der  Musikant  (ib., 
1910),  Der  Bergsee  (ib.,  1911),  Der  Abenteurer, 
(ib.,  1913);  a  ballet-opera,  Der  Markt  der 
Liebe  (ib.,  1909);  choruses  and  songs.  Two 
other  operas,  Alarich  and  Das  hollische  Gold 
(finished  1915),  have  not  yet  been  performed. 
B.  is  his  own  librettist. 

Bitto'nl,  Bernardo,  organist,  and  comp. 


of  admirable  sacred  music  (in  MS.);  b. 
Fabriano,  1755;  d.  there  May  18,  1829. 
— Biogr.  by  Alfieri  (1852). 

Bizet  [be-za'],  Georges  (baptismal  names 
Alexandre-Cesar-Leopold),  b.  Paris,  Oct. 
25,   1838;  d.  Bougival,   June  3,  1875.     He 
entered  the  Paris  Cons,  at  nine,  his  teachers 
being  Marmontel  (pf.)f  Bcnoist  (org.),  Zim- 
merman   (harm.),  and    Halevy,  his   future 
father-in-law    (comp.).      In   1857  he  took, 
among  78  competitors,  the  prize  offered  for  the 
composition  of  an  opera  buffa,  Le  docteur  Mi- 
racle, and  also  won  the  Grand  prix  de  Rome. 
Instead  of  the  prescribed  mass,  he  sent  from 
Rome,  during  his  first  year,  a  2-act  Ital. 
opera   buffa,   Don  Procopio   (Monte   Carlo, 
1906);  later  he  sent  2  movements  of  a  sym- 
phony,  an  overture    (La   Chasse   d'Ossian), 
and  a   comic  opera    (La  Guzla  de  VEmir). 
Returning,    he    prod,    a    grand    opera,    Les 
Pecheurs  de  perles  (Th.-Lyrique,  1863);   but 
this  work,  like  La  jolie  fiUe  de  Perth  (1867), 
failed  of  popular  approval.     A  1-act  opera, 
Djamileh     (1872),     tared     no    better;— but 
Pasdeloup  brought  out  his  overture  Patrie, 
and    the    2    symphonic    movements,    with 
success.    The  incidental  music  to  Daudet's 
VArlesienne  (1872),  however,  turned  the  tide 
of  popular  favor;  and  the  striking  success  of 
Carmen  (Opera-Corn.,  Mar.  3,  1875),  showed 
what  B.  might  have  done  had  he  been  spared; 
he  died  just  three  months  after  his  hardly- 
won  triumph.    Besides  the  above-mentioned 
works,  B.  comp.  two  operas,  Numa  (1871), 
Ivan  le  Terrible  (not  pert.);  about  150 pf. -pes. 
of  all  kinds  (he  was  a  brilliant  pianist),  and 
songs,  etc.    The  music  of  VArlesienne,  trans- 
formed into  a  suite,  had  great  success,  and 
was  followed  by  three  other  suites :  VA  rlesienne 
No.  2,  Roma,  and  Jeux  d'enfance,  all  well 
received. — Biographical:  E.  Galabert,  Georges 
Bizet   (Paris,    1877);   Ch.    Pigot,   B.   et  son 
auvre    (1886);    C.    Bellaigue,    Bizet    (1891); 
P.    Voss,    Bizet    (Reclam,    Leipzig,    1899); 
A.  Weissmann,  Bizet  (in  R.  Strauss's  .coll. 
•Musik',    Berlin,    1907);   O.   Sere,  G.  B.,  in 
Musiciens    francais     d'aujourd'hui     (Paris, 
1911);    H.    Gauthier-Villars,    B.    Biographic 
critique  (Paris,  1911);  R.  Brancour,  La  vie  et 
Vcsuvre  de  G.  B.  (Paris,  1913). 

Black,  Andrew,  baritone  singer,  originally 
an  organist;  b.  Glasgow,  Jan.  15,  1859. 
Pupil  of  Randeg^er  and  J.  B.  Welch;  then 
of  Dom.  Scafati,  at  Milan.  First  great 
success  at  a  Crystal  Palace  concert  on 
July  30,  1887;  first  appearance  at  a  provincial 
festival  at  Leeds,  1892;  in  1894  he  sang 
Elijah  at  the  Birmingham  Fest.,  and  the 
same  at  Gloucester,  1895,  and  Norwich, 
1896.  Professor  of  singing  at  the  Manchester 
R.  C.  M.  since  1893.  Has  also  appeared  in 
opera;  and  has  sung  in  the  United  States. 


90 


BLAES— BLARAMBERG 


Blaes  f blahs],  Arnold  Joseph,  b.  Brussels, 
Dec.  1, 1814;  d.  there  Jan.  11, 1892.  Clarinet- 
tist, pupil  of  Bach  ma  nn,  whom  he  succeeded 
in  1842  as  solo  clarinet  and  teacher  at  the 
Brussels  Cons. 

Blaes,  Edward,  b.  Ghent,  Nov.  19,  1846; 

Supil  of  Cons,  there  and  at  Brussels,  also  of 
lenott  at  Antwerp;  in  1876  m.  de  chap,  at 
St.-Bavo's  ch.f  and  municipal  music-director 
of  Ghent  and  bassoon- teacher  at  the  Cons., 
being  solo  bassoonist  1875-96  at  the  French 
Th.  in  Ghent.  A  popular  director  of  choral 
societies,  and  comp.  of  choruses. 

Blagrove,  Henry  Gamble,  violinist;  b. 
Nottingham,  Oct.  20,  1811;  d.  London,  Dec. 
15, 1872.  Pupil  of  his  father,  R.  M.  Blagrove, 
and  played  in  public  at  5;  was  the  first 
pupil  of  the  R.  A.  M.  (opened  1823),  where 
ne  took  the  silver  medal  in  1824.  studied 
under  Spohr  at  Kassel,  1833-4;  after  which 
he  played  at  the  leading  London  concerts 
and  provincial  festivals. 

Blaliack,  Josef,  b.  Raggendorf,  Hun- 
gary, 1779;  d.  Vienna,  Dec.  15,  1846;  from 
1802-23,  tenor  at  the  Leopoldstadter  Th., 
Vienna;  1824,  Kapellm.  of  St.  Peter's, 
Vienna,  succeeding  Preindl. — Works:  14 
masses;  25  graduals;  29  offertories;  10  Tan- 
tum  ergos;  2  Te  Deums. 

Blahefka  (or  Plahetka),  Marie- Leo- 
poldine,  pianist  and  composer;  b.  Gun- 
tramsdorf,  n.  Vienna,  Nov.  15,  1811;  d. 
Boulogne,  Jan.  12,  1887.  St.  pf.-playing 
under  Josef  Czerny,  Kalkbrenner,  and  Mo- 
scheles;  comp.  under  Sechter.  A  brilliant 
pianist,  she  made  successful  tours,  and 
composed  effective  pf.-pes.  (concertos,  polo- 
naises, rondos,  sonatas,  variations,  pf.-trios, 
etc.).  and  songs;  also  wrote  a  romantic 
opera,  Die  Rduber  und  die  Sanger  (Vienna, 
1830).    She  resided  from  1840  in  Boulogne. 

BlalnviUe  [blan-veT],  Charles-Henri,  b. 

in  a  village  n.  Tours,  1711 ;  d.  Paris,  1769.  He 

wa3  a  'cellist,  music-teacher  and  composer, 

his  most  noted  works  being  a  symphony 

(1751)  in  the  'mode  helleniaue'  [e-f-g-a-b-c-d- 

c],  which  excited  Rousseau  s  admiration  and 
c' »_ «. :*:~:~m ur-.v  ;„,«,.    r»i„.._ 


'Nachrichten');  and  Histoire  genirale,  critique 
et  philologique  de  la  musique  (1767). 

Blamont  [-mdhn'],  Francois  Colin  de, 

b.  Versailles,  Nov.  22,  1690;  d.  there  Feb.  14, 
1760.  A  pupil  of  Lalande,  he  became  super- 
intendent, ot  the  King's  music,  and  comp. 
many  court  ballets,  'ffctcs,'  operas,  etc.; 
also  3  books  of  cantatas,  2  of  motets,  and 
numerous  songs.  Wrote  Essai  sur  les  go&ts 
anciens  et  modernes  de  la  musique  jrancaise 
(1754). 


Blanc  [blahn],  Adolphe,  b.  Manosque, 
Basses- Al pes,  June  24,  1828;  d.  Paris,  May, 
1885.  Pupil  of  Paris  Cons.  (1841),  and 
private  pupil  of  Halevy.  The  Prix  Chart  ier 
was  awarded  him  in  1862  for  chamber- 
music.  For  a  short  time  he  was  conductor 
at  the  Theatre-Lyrique. — Works:  A  1-act 
comic  opera,  Une  Aventure  sous  la  Ligue 
(1857);  2  operettas,  Les  deux  billets  (1868), 
and  Les  Rives  de  Marguerite;  a  burlesque 
symphony;  an  overture;  trios,  quartets, 
quintets  and  septets  f.  strings,  with  and 
without  pf.;  pf.-pes. 

Blanchard   [blahn-shahr'J,  Henri-Louis, 

b.  Bordeaux,  Feb.  7,  1778;  d.  Paris,  Dec.  18, 
1858.  Violinist  and  composer;  conductor 
(1818-29)  at  the  Theatre  des  Varietes,  Paris; 
1830-3  manager  of  the  Theatre  Moliere.  Later 
he  became  a  distinguished  mus.  critic.  He 
produced  several  operettas  and  some  chamber- 
music. 

Blanginl  [-je'ne],  (Giuseppe  Marco 
Maria)  Felice,  b.  Turin,  Nov.  18,  1781;  d. 
Paris,  Dec.  18,  1841.  In  1789,  choir-boy  at 
Turin  cathedral ;  at  1 2  he  played  the  cathedral 
organ,  composed  sacred  music,  and  was  a 
skilful  'cellist.  In  1797  the  family  moved  to 
the  south  of  France,  and  in  1799  to  Paris; 
B.  gave  concerts,  wrote  fashionable  romances, 
and  came  into  vogue  as  an  opera-composer 
in  1802,  when  he  completed  Delia-Maria's 
La  fausse  duigne;  as  a  singing-teacher  he  was 
also  in  request.  After  producing  an  opera 
in  Munich  (1805),  he  was  app.  court  Kapellm. 
(1806),  and  Princess  Borgnese  made  him  her 
Director  of  Music.  King  Jer&me  app.  him 
General  Music- Director  at  Kassel,  1809;  he 
returned  to  Paris  in  1814,  and  was  made 
superintendent  of  the  King's  music  and 
composer  to  the  Court,  and  also  prof,  of 
singing  at  the  Cons.;  but  in  1830  he  lost  all 
his  places  at  Court,  and  passed  the  remainder 
of  his  days  in  comparative  obscurity.  He 
wrote  30  operas,  4  masses  w.  orch.,  170 
notturnos  f.  2  voices,  and  174  romances  f. 
one  voice.  M.  de  Villemarest  edited  his 
autobiography:  Souvenirs  de  F.  Blangini 
(Paris,  1834). 

Blanlcenburg,  Quirin  van,  b.  Gouda, 
Holland,  1654;  d.  The  Hague,  1749,  as  org. 
of  the  Reformed  Church.  He  wrote  Elementa 
musica  (1739),  and  Clavicembel  en  Orgelboek 
der  gereformeerde  Psalmen  en  Kerkgezangen 
(1732;  3rd  ed.  1772);  a  method  for  flute;  etc. 

Bla'ramberg,  Paul  Ivanovltch,  b.  Oren- 
burg, Russia,  Sept.  26,  1841.  Pupil  of 
Balakirev.  #  Law-student,  government  statis- 
tician, and  journalist;  since  1870  editor  of  the 
Moscow  'News',  and  prof,  of  theory,  instru- 
mentation, and  the  science  of  form,  at  the 
Moscow  Philh.  School  since  its  foundation  in 
1878.     His  first  large  work  was  a  cantata 


91 


BLASERNA— BLECH 


(music  to  Ostrovsky's  Voievode,  1865);  fol- 
lowed by  the  symph.  poem  Thi  Demon 
(1869,  after  Lermontov) ;  the  cantata  f.  female 
ch.f  soli  and  orch.,  The  J*ocusts  (1879) ;  can- 
tata f.  male  ch.  and  orch.,  On  the  Volga 
(1880);  symph.  poem  The  Dying  Gladiator 
(1882);  the  operas  Maria  of  Burgundy 
(Petrograd,  1882),  The  First  Russian  Comedian 
(ib.)t  The  Juggler,  The  Water  sprite,  and 
TushintsJ  (Moscow,  1885;  v.  succ,  and  held 
to  be  his  best  work) ;  also  a  symphony  and  a 
scherzo  f.  orch.;  choruses,  songs,  etc. 

Blfl8er'na,  Pletro,  b.  Fiumicello,  near 
Aquileja,  Feb.  29,  1836.  St.  nat.  sciences 
in  Vienna  and  Paris;  prof,  of  physics  at  the 
Univs.  of  Palermo  (1863)  and  Rome  (1872); 
R.  senator,  1890.  His  investigations  in  the 
field  of  acoustics  rank  in  importance  with 
those  of  Helmholtz,  Tyndall  and  Stumpf,  and 
have  thrown  light  on  many  dark  problems; 
he  has  been  an  earnest  advocate  of  the 
acoustic  purity  of  intervals.  His  principal 
work  is  La  teoria  del  suono  net  suoi  rapporti 
coUa  tnusica  (1875;  tr.  into  Ger.t  1876,  Fr.t 
1877). 

Bla'sius,  Mathieu-Fr6deric,  b.  Lauter- 
burg,  Alsatia,  Apr.  23,  1758;  d.  Versailles, 
1829.  Violinist,  clarinettist,  flutist,  and  bas- 
soonist; 1795-1802  prof,  of  wind-instrs.  at 
the  Cons.,  Paris;  1802-16  conductor  at  the 
Opera-Comique. — He  wrote  3  operas;  3  melo- 
dramas; string-quartets;  3  violin-concertos, 
etc.;  but  his  most  popular  comps.  were  for 
the  above  wind-instrs.  in  various  combi- 
nations.— See  Q.-Lex. 

Blauvelt,  Lillian  Evans*  concert  and 
dram,  soprano;  b.  Brooklyn,  N.  Y.,  Mar.  16, 
1874.  Having  studied  the  violin  for  some 
years,  she  began  to  study  singing  in  1889, 
with  J.  Bouhy  at  the  Nat.  Cons,  in  N.  Y.; 
cont.  her  studies  with  Bouhy  in  Paris;  sang 
in  concerts  in  France,  Belgium  and  Russia; 
operatic  debut  at  Th.  Monnaie,  Brussels,  irt 
Gounod's  Mireille  (1893);  after  her  return  to 
the  U.  S.  she  was  heard  frequently  in  large 
orchl.  concerts  (Seidl,  Damrosch,  Thomas, 
van  der  Stucken,  etc.);  sang  before  Queen 
Victoria  in  1899,  and  next  year  was  soloist 
at  the  great  Handel  Fest.  at  Crystal  Palace; 
since  then  has  appeared  annually  in  London; 
at  the  coronation  festivities  in  1902  she  sang 
the  coronation  ode,  and  received  from  King 
Edward  the  'Coronation*  medal;  sang  several 
seasons  at  Cov.  Garden  (Marguerite,  Mi- 
caela,  Juliette,  Zerlina,  etc.);  recipient  of 
various  Engl.,  Ger.,  Fr.  and  Russian  deco- 
rations. 

Blau'waert  [-vahrt],  Emiel,  bass-baritone 
concert -singer;  b.  St.  Nicholas,  Belgium, 
June  13, 1845;  d.  Brussels,  Feb.  2, 1891.  Pupil 
of  Brussels  Cons.  (Goossens  and  Warnots); 
debut  1865  in  Benoit's  Lucifer  as  the  'Spot- 


geest'  (mocking  spirit);  also  sang  the  role  of 
Gurnemanz  in  Parsifal  at  Bayreuth.  After 
1877  he  taught  at  Bruges,  Antwerp  and 
Mons. 

Blaze  [blahz],  (called  Castil- Blaze),  Fran- 
cois-Henri-Joseph, the  father  of  modern 
French  musical  criticism;  b.  Cavaillon,  Vau- 
cluse,  Dec.  1,  1784;  d.  Paris,  Dec.  11,  1857. 
Taught  by  his  father,  Henri-Sebastien  Blaze 
[1763-18331,  in  early  youth;  he  #  went  to 
Paris  to  study  law,  but  kept  up  his  musical 
studies,  and  finally  (1820)  devoted  himself 
wholly  to  music.  His  work  VOpha  en 
France  (1820),  a  telling  arraignment  of  con- 
temporary French  opera-production,  won  him 
first  of  all  the  post  of  critic  on  the  'Journal 
des  D6bats';  nis  articles,  signed  'XXX,' 
made  him  a  power  among  musicians.  _  During 
40  years  of  uninterrupted  literary  activity,  he 
publ.  many  works  on  music:  Dictionnaire  de 
musique  moderne  (1821,  2  vols;  2nd  ed.,  1825; 
3rd  ed.,  edited  by  J.  H.  Mees,  with  historical 
preface  and  a  supplement  of  Netherland 
musicians,  1828,  1vol.);  Chapelk-musique  des 
Rots  de  France  (1832);  La  Danse  et  les  Ballets 
depuis Bacchus  jusqud  Mile.  Taglioni  (1832); 
Memorial  du  grand  Optra  (from  Cambert, 
1669,  down  to  and  incl.  the  Restoration); 
Le  Piano;  hist,  de  son  invention,  etc.  ('Revue 
de  Paris,'  1839-40);  Moliere  musicien  (1852); 
Thedtres  Lyriques  de  Paris  (2  vols.;  on  the 
Grand  Opera  [1855],  and  on  the  Italian 
opera  1848-1856  [1856]);  SurV  Optra  francais: 
vtritts  dures  mats  utiles  (1856);  Vart  desjeux 
lyriques  (1858). — His  translations  of  German 
and  Italian  opera-libretti  (Der  Freischutz, 
Don  Giovanni,  Figaro,  II  Barbiere,  Fidelio, 
La  Gazza  ladra,  and  many  others)  gave  a 
great  and  needed  impetus  to  the  production 
of  these  operas  in  France.  •  He  composed 
3  operas,  and  several  skilfully  contrived 
'pastiches';  a  collection  of  Chants  de  la  Pro- 
vence; chamber-music,  romances,  etc. 

Blaze,  Henri,  Baron  de  Bury,  son  of 

Preceding;  b.  Avignon,  May  17,  1813;  d. 
aris,  March  15,  1888.  His  title  was  be- 
stowed on  him  while  the  attache  of  an  em- 
bassy ;  before  and  after  which  time  he  devoted 
himself  to  literary  work.  He  wrote  many 
essays,  historical,  esthetical,  and  biographical, 
for  the  'Revue  des  Deux  Mondes/  ana  other 
periodicals;  these  essays  were  subsequently 
collected  as  Music  tens  content  porains  (1856), 
Meyerbeer  et  son  temps  (1865),  Musiciens  du 
fosse,  du  present,  etc.  (1880),  Goethe  et  Beet- 
hoven (1882),  etc.  His  mqst  elaborate  and 
valuable  work  is  La  Vie  de  Rossini  (1854). 

Blech  [bleyh],  Leo,  b.  Aachen,  April  22, 
187 1 .  After  leaving  school  he  tried  a  m  _*rcan- 
tile  career  for  4  years;  then  (1890)  was  for  1 
year  a  pupil  of  the  Hochschule  fiir  Musikat 
Berlin  (Rudorff ,  Bargiel) ;  study  here  proving 


92 


BLEICHMANN— BLOCH 


tedious,  he  returned  to  Aachen  as  Kapellm. 
of  the  Municipal  Theatre  during  the  winters 
of  1893-6,  pursuing  during  the  summers  a 
course  of  study  under  Humperdinck.  Then 
(1896)  1st  Kapellm.  at  Aachen;  in  1899  en- 
gaged (on  Angelo  Neumann's  recommenda- 
tion) as  1st  Kapellm.  at  the  R.  German 
Landestheatcr  in  Prague;  1906,  Kapellm.  at 
the  Royal  Opera  in  Berlin.  His  debut  as 
conductor  was  in  1893;  as  pianist  in  1880. — 
Works:  The  operas  Aglaia  (Aix-la-Chapellc, 
1893)  and  Cherubina  (ib.,  1894;  both  imma- 
ture); the  1-act  'opera-idyl'  Das  war  ich 
(Dresden,  1902;  very  succ);  the  3-act  opera 
A I  pen  ko  nig  und  Mcnschenfeind  (Dresden,  Oct. 
1,  1903;  succ.  [it  was  reconstructed  from  Rai- 
mund's  operal);  the  3-act  opera  Aschenbrodel 
(Prague,  1905);  and  the  1-act  opera  Vcrsiegelt 
(Hamburg,  1908;  N.  Y.t  1912);  3  symphonic 
poems,  Die  Nonne,  Waldwanderung,  Trost  in 
der  Natur;  choruses  with  orch.,  Sommernacht, 
Von  den  Englein;  also  songs,  pf.-pieces  (op. 
1 1, 10  Kleinigkeiten  for  pf.  4  hands) ;  etc.— -Cf. 
E.  Rychnowsky,  L.  B.  (Prague,  1905);  id., 
L.  B.,  in  vol.  iii  of  'Monographien  moderner 
Musiker'  (Leipzig,  1909). 

Bleich'mann,    Julius    Ivanovitch,    b. 

Pctrograd,  Dec.  6,  1868.  Pupil  of  Soloviev 
and  R.-Korsakov  at  the  Pctrograd  Cons., 
later  of  Jadassohn  and  Reinecke  in  Leipzig. 
Founded  in  Pctrograd  the  Popular  Symphony 
Concerts  in  1893;  cond.  the  Philh.  Concerts, 
1894-5.  He  has  composed  2  operas,  a  few 
other  orchl.  works,  some  chamber-music, 
choruses,  pf  .-music,  and  songs. 

Bleu'er,  Ludwig,  violinist;  b.  Buda- 
pest, Aug.  21,  1863;  d.  Berlin,  Sept.  15,  1897. 
Studied  with  Griin  (Vienna)  and  in  the  Ber- 
lin Hochschule;  1883-93,  leader  of  Philh. 
Orch.,  Berlin;  1894,  of  Detroit  Philh.  Club. 

Blew'itt,  Jonathan,  b.  London,  1782;  d. 
there  Sept.  4,  1853.  Pupil  of  his  father,  Jonas 
B.,  and  Battishill.  Org.  in  several  London 
and  provincial  churches,  finally  at  St.  An- 
drew s,  Dublin  (1811),  and  comp.  and  cond. 
at  the  Theatre  Royal  there;  also  grand  org. 
to  the  Masonic  Soc.  of  Ireland.  Returning  to 
London  in  1826,  he  became  mus.  director  at 
Sadler's  Wells  Theatre,  and  brought  out  sev- 
eral operas,  stage-pieces  with  incidental  music, 
I>antomimes,  etc.,  at  Drury  Lane  and  else- 
where. He  wrote  many  popular  ballads;  also 
a  treatise  on  singing,  The  Vocal  Assistant. 

Bleyle,  Karl,  b.  Feldlrirch,  Vorarlberg, 
May  7,  1880.  Pupil  of  Wehrle  (vin.)  and  S. 
de  Lange  (comp.)  in  Stuttgart,  1894-7; 
1897-9  of  Singer  and  de  Lange  at  the  Cons.; 
1904-7,  studied  comp.  with  Thuille  at  Mu- 
nich, where  he  resides.  He  is  one  of  the  most 
important  of  contemporary  German  compo- 
sers.— Publ.  works:  Op.  2,  An  den  Mistral 
[Nietzsche],  for  m.  ch.and  orch.;  op. 4  and  7, 


male  choruses  [Nietzsche];  op.  6,  symphony; 
op.  8,  Lernt  lachen  [after  excerpts  from  Nietz- 
sche's 'Alsosprach  Zarathustra'],  for  alto,  bar., 
mixed  ch.  and  orch. ;  op.  9,  Flagellantenzug  for 
orch. ;  op.  10,  concerto  for  vln.  and  orch.  in  C; 
op.  11,  Mignons  Beisetzung  for  mixed  ch., 
boys'  ch.  and  orch.;  op.  12,  Musikalische  Bau- 
steine  (10  pf.-pieces);  op.  13,  Heilige  Sendung 
for  tenor  and  bar.  soli,  ch.  and  orch.;  op.  14, 
Ein  Blumenstrauss  (10  songs) ;  op.  16,  Gnomen- 
tanz  for  orch.;  op.  17,  Die  Hotlenfahrt  Christi 
for  bar.  solo,  men's  ch.  and  orch.;  op.  19, 
Chorus  mysticus  (from  'Faust')  for  mixed  ch., 
pf.  and  harm.;  op.  20,  'Ein  Harfenklang  for 
alto  solo,  mixed  ch.  and  orch.;  op.  21,  Sieges- 
ouvertiire  for  orch.;  op.  22,  4  duets  for  m.-sop. 
and  bar. ;  op.  23,  Reineke  Fuchs,  overture  for 
orch. ;  op.  24,  Lustiges  ABC  (variations  for 
pf.);  op.  25,  Prometheus  for  male  ch.  and  orch. 

Bliss,  P.  Paul,  organist,  editor;  b.  Chi- 
cago; Nov.  25,  1872.  Graduate  Princeton 
Univ.  (1894);  studied  theory  with  Clarke  and 
Zeckwcr  in  Phila.  (1895-6);  with  Guilmant 
(org.)  and  Massenet  (comp.),  Paris  (1896-8); 
org.  and  dir.  at  Oswego,  N.  Y.  (1900-4);  mus. 
ed.  with  John  Church  Co.  (1901-10);  since 
191 1  mus.  ed.  with  Willis  Music  Co. — Works: 
Three  operettas,  Feast  of  Little  Lanterns,  Feast 
of  Red  Corn,  In  India;  cantatas,  Pan  on  a  Sum- 
mer Day,  Three  Springs,  The  Mound-Builders; 
pia no-suite,  In  October;  Graded  Course  for 
piano  (4  vols.);  many  songs  and  choruses. 

Bloch,  Ernest,  b.  Geneva,  July  24,  1880. 
Pupil  of  Jaques-Dalcroze  and  L.  Rey;  1897-9 
at  Brussels  Cons.  (E.  Ysa^e  and  F.  Rasse); 
1900  at  Hoch  Cons,  in  Frankfort  (I.  Knorr); 
living  in  Geneva  (app.  prof,  of  comp.  at  the 
Cons,  there  in  1915).  Has  written  the  opera 
Macbeth  (Paris,  Op.-Com.,  1910);  the  symph. 
poems  Vivre  et  Aimer  and  Pr intern ps-Hvoer; 
Trois  Pohnesjuifs  for  orch.;  Psalm  22  for  bar. 
and  orch.;  Psalm  114  for  sop.  and  orch.; 
Psalm  137  for  do.;  Poemes  d'Automne  for 
m.-sop.  with  orchestra. — See  Appendix. 

Bloch,  Georg,  b.  Breslau,  Nov.  2.  1847; 
d.  Berlin,  Feb.  11,  1910.  Pupil  of  Hanisch 
and  J.  Schubert;  later,  at  Berlin,  of  Taubert 
and  F.  Geyer.  Teacher  in  Breslaur's  Cons., 
Berlin;  founder  (1879)  and  director  of  the 
Opera  Society  (now  Bloch'scher  Verein).  Has 
written  numerous  choruses  with  orchestra. 

Bloch,  Josef,  b.  Pest,  Jan.  5,  1862.  Pupil 
of  Karl  Hubay  and  Volkmann ;  later,  of  Ch. 
Dancla  at  the  Paris  Cons.;  for  6  years  a 
member  of  the  Hubay- Popper  Quartet;  vln.- 
teacher  1890-1900  in  the  Hungarian  Nat. 
Cons. — Works:  Hung,  overture,  Hung,  rhap- 
sody, and  2  suites  for  orch.;  2  grand  suites  for 
strings;  a  violin-concerto;  a  string-quartet; 
pieces  and  etudes  for  violin.  He  publ.  a 
Method  for  vln.  in  5  parts  (1904). 


93 


BLOCKX— BLUM  ENTH  AL 


Blockx  [bl6hx],  Jan,  b.  Antwerp,  Jan.  25, 
1851  ;d.  there  May  26,  1912.  Pianist  and  com- 
poser; pupil  in  the  Flemish  Music  School  of  Cal- 
iaerts  (pf.)  and  Benoit  (comp.);  also  studied 
with  L.  Brassin.  In  1886,  teacher  of  harm, 
at  the  Antwerp  Cons.;  also  mus.  dir.  of  the 
'Cercle  artistique'  and  other  societies. — 
Works:  The  operas  Jets  vergeten  (1-act, 
Antwerp,  1877);  MaUre  Martin  (Brussels, 
1892);  Herbergprinses  [Princesse  d'Auberge] 
(Antwerp,  1896;  N.  Y.,  1909);  Thiel  Uylen- 
spiegcl  (Brussels,  1900);  De  Bruid  der  Zee 
(Antwerp,  1901);  De  Capel  (ib.,  1903); 
Baldie  (ib.,  1908);— the  great  choral  works 
with  orch.  Vredezang;  Het  droom  vanl  para- 
dies;  De  klokke  Roelandt;  Op  den  stroom; 
Scheldezang;  a  ballet,  Milenka  (1887);  Ru- 
bens, overture  for  orch.;  vl.-romanza  with 
orch.,  in  D;  and  a  few  earlier  works  for  orch. 

Blo'dek,  Wilhelm,  b.  Prague,  Oct.  3, 
1834;  d.  there  May  1, 1874.  Studied  at  Prague 
Cons.,  where,  after  teaching  3  years  at 
Lubycz,  Poland,  he  became  prof.  (1860).  He 
died  insane.— Works:  V  Studni  [In  the  Well], 
1-act  comic  Czech  opera  (Prague,  1867;  very 
succ.) ;  given  in  German  as  Im  Brunnen  (Leip- 
zig, 1893);  opera  Zidek  (unfinished);  a  mass, 
an  overture,  quartets  for  men's  voices,  pf.- 
music,  and  songs. 

Blon,  Franz  von^b.  Berlin,  July  16,  1861. 
Pupil  of  the  Stern  Cons,  and  the  Hochschule 
fur  Musik.  Leader  in  the  Hamburg  City  Th. 
orch.;  1898,  cond.  of  the  Berlin  Philh.  Blas- 
Orchester;  1900,  of  the  Berlin  Tonkunstlcr- 
Orch.— Operettas:  Sub  rosa  (Ltibeck,  1887), 
Die  Amazone  (Magdeburg,  1903);  a  ballet 
In  Afrika  (Berlin,  1899);  also  light  orchestral 
pieces,  piano-pieces,  songs,  etc. 

Blondeau  [bldhn-doh'],  Pierre-Auguate- 
Louia,  b.  Paris,  Aug.  15,  1784;  d.  there 
1856.  Pupil  of  Baillot,  Gossec,  and  Mehul 
at  Paris  Cons.;  Prix  de  Rome,  1808, 
with  cantata  Maria  Stuart;  till  1842,  viola- 
player  in  Grand  Opera  orch. — Works:  1  opera, 
Allafontana  (1893);  1  ballet,  3  overtures,  1 
mass,  2  Te  Deums,  chamber-music,  pf  .-pieces, 
songs;  also  a  number  of  theoretical  works. 

Bloomfield  Zeisler,  Fanny.  SccZeisler, 
Fannie  Bloomfield. 

Blow,  (Dr.)  John,  b.  N.  Collingham, 
Nottinghamshire,  Feb.  (baptized  23d),  1648; 
d.  Westminster  (London),  Oct.  1,  1708.  In 
1660,  chorister  at  the  Chapel  Royal,  under 
Henry  Cooke;  on  leaving  the  choir,  he  studied 
under  John  H  ingest  on  and  Dr.  Chr.  Gibbons, 
becoming  a  skilful  organist.  App.  organist  of 
Westminster  Abbey,  1669,  but  had  to  make 
way  for  Purccll  in  1680;  on  Purcell's  death,  he 
was  reappointed  (1695-1708).  Gentleman  of 
the  Chapel  Royal,  March,  1674,  and,  in  June, 
succeeded  Humphreys  as  Master  of  the 
Children;  later  he  became  organist  of,  and 


(1699)  composer  to,  the  Chapel  Royal.  Ox- 
ford Univ.  conferred  on  him  the  degree  of 
Mus.  Doc. — Blow  began  to  compose  when  a 
boy  in  the  Ch.  R.,  and  wrote  a  vast  amount 
of  church-music  (services,  anthems,  odes  for 
St.  Cecilia's  day  and  New  Year's) ;  many  an- 
thems are  printed.  Also  organ-music,  pieces 
for  harpsichord,  and  songs. — See  Q.-Lex. 

Blum  [bloom],  Karl  Ludwig,  b.  Berlin, 
1786;  d.  there  July  2,  1844.  A  most  versatile 
musician:  dramatic  composer,  organist,  'cel- 
list, conductor,  actor,  singer,  and  poet.  Pupil 
of  H.  Grossi  (Berlin),  Fr.  A.  Hiller  (Konigs- 
berg),  and  Salieri  (Vienna);  in  1820,  app. 
chamber-musician  to  the  Prussian  court;  in 
1822,  stage-manager  of  the  Berlin  Opera.  He 
produced  over  50  operas,  ballets,  vaudevilles, 
etc.,  and  was  the  first  to  bring  vaudeville  on 
the  German  stage.  His  vocal  and  instru- 
mental music  is  forgotten. 

Blu'menfeld,   Felix   Michallovltch,   b. 

Kovalevska,  Govt,  of  Cherson,  Russia,  April 
19,  1863;  from  1881-5,  pf.-pupil  of  Th.  Stein 
at  Petrograd  Cons.;  took  gold  medal.  From 
1885,  teacher,  1897,  prof,  at  Cons.;  1898- 
1912,  cond.  at  Imp.  Opera  in  Petrograd. — 
Works  for  pf.:  Allegro  ae  concert,  with  orch., 
op.  7;  Variations  caracUr.,  op.  8;  24  Prfludcs, 
op.  17;  mazurka  for  orch.;  string-quartet  in 
r ,  op.  26;  symphony  in  C  m.,  op.  39;  pieces 
for  'cello;  songs;  etc. 

Blu'menfeld,  Slgismund,  b.  Odessa, 
Dec.  27,  1852;  brother  of  Felix.  Vocal  comp.; 
has  also  written  some  pf.-music  (op.  5,  Six 
Brimborions;  op.  6,  Two  Mazurkas).  Lives 
in  Petrograd. 

Blu'menschein,  William  Leonard,   b. 

Brensbach,  Germany,  Dec.  16,  1849;  d.  Day- 
ton, Ohio,  March  27,  1916.  Pupil  from  1869- 
72,  in  Leipzig  Cons.,  of  Wenzel,  Paul,  Rei- 
necke,  Richter,  David,  etc.  (piano,  organ,  vln., 
theory).  After  1897,  organist  and  choir- 
director  of  the  Third  St.  Presb.  Ch.,  Dayton, 
Ohio;  after  1881,  director  of  the  Dayton 
Philh.  Soc.  From  1891-6,  the  energetic  and 
efficient  chorus-master  of  the  Cincinnati  May 
Festival  Assoc.;  cond.  of  various  smaller 
societies. — His  published  comps.,  which  reach- 
ed op.  110,  include  50  sparkling  piano- 
pieces  of  the  lighter  genre,  a  score  of  secular 
songs,  some  60  effective  anthems  and  sacred 
songs,  and  several  secular  choruses. 

Blu'menthal   [-tahl],   Jacob   [Jacques], 

pianist,  b.  Hamburg,  Oct.  4,  1829;  d.  London, 
May  17,  1908.  Pupil  of  Grund  (Hamburg), 
of  Bocklet  and  Sechtcr  (Vienna),  and  of  Herz 
and  Halcvy  (Paris  Cons.,  1846).  Settled  in 
London,  1848;  pianist  to  the  Queen,  and 
successful  teacher.  B.  composed  many 
melodious  and  effective  salon-pieces  f .  pf . ;  also 
music  f.  'cello  and  vln.,  and  numerous  songs. 


94 


BLUM  ENTH  AL—  BOCHSA 


Blu'menthal,  Joseph  von,  b.  Brussels, 
Nov.  1, 1782;d.  Vienna,  May  9,  1850.  Violin- 
ist and  composer;  pupil  of  Abbe  Vogler  in 
Prague  and  (1803)  Vienna,  where  he  became 
choirmaster  in  the  Church  of  the  Piarists. — 
Works:  An  opera,  Don  Sylvio  de  Rosalba 
(1805);  music  to  several  other  stage-pieces;  a 
ballet;  symphonies,  string-quartets,  duos  and 
other  violin-music;  also  a  Method  for  violin. 

Blu'menthal,  Paul,  b.  Steinau-on-Oder, 
Silesia,  Aug.  13,  1843;  pupil  of  the  R.  Acad., 
Berlin;  1870,  organist  in  Frankfort-on-Oder; 
1876,  created  'R.  Music-director';  1899,  can- 
tor at  St.  Mary's;  1905,  created  'R.  Professor'. 
—Works:  Masses,  motets,  orchestral  music 
(incid.  music  to  Wildenbruch's  Karolingef); 
he  has  publ.  motets  and  male  choruses,  songs, 
and  pieces  for  organ  and  for  pf . 

Blum'ner,  (Dr.)  Martin,  b.  Furstenberg, 
Mecklenburg,  Nov.  21,  1827;  d.  Berlin,  Nov. 
16,  1901.  Pupil  of  S.  W.  Dehn  in  Berlin 
(1847);  1853,  vice-conductor,  1876,  regular 
conductor  of  the  Berlin  'Singakademie.'  He 
was  a  vocal  composer  in  the  strict  style. — 
Works:  2  oratorios,  Abraham  (1860)  and  Der 
Fall  Jerusalem*  (1874);  2  grand  cantatas  for 
ch.,  soli  and  orch.,  In  Zeit  und  Ewigkeit 
(1885)  and  Festival  Cantata  (1891);  Te  Deum 
in  8  parts;  motets,  psalms,  Lieder,  etc. 

Bluth'ner  [blot-],  Julius  (Ferdinand), 

b.  Falkenhain,  n.  Merseburg,  March  11, 1824; 
d.  Leipzig,  April  13,  1910.  Celebrated  piano- 
maker.  Founded  his  establishment  at  Leip- 
zig, 1853,  with  3  workmen;  had  in  1897  over 
500,  and  turned  out  some  3,000  pianos  yearly 
(63,000  up  to  1904).  B.  was  awarded  many 
first  medals.  His  specialty  was  the  'Aliquot- 
fliigel,'  a  grand  piano  with  a  sympathetic 
octave-string  stretched  over  and  parallel  with 
each  unison  struck  by  the  hammers. — To- 
gether with  H.  Gretschel  he  wrote  Der  Piano- 
fortebau  (1872;  3d  ed.  rev.  by  R.  Hanne- 
mann,  Leipzig,  1909). 

Bobin'ski,  Henry  Antonovitch,  pianist; 
b.  Warsaw,  Feb.  1,  1861,  and  studied:  at  the 
Cons,  there  and  the  Philh.  School  in  Moscow, 
where  he  became  a  teacher  in  1887;  since 
1893,  teacher  in  the  school  of  the  R.  Russ. 
Mus.  Soc.  at  Kiev.  Debut  as  pianist,  1887, 
at  Cracow;  has  played  in  other  Russian 
towns,  Vienna  (1893),  etc. — Publ.  an  orchl. 
overture,  a  pf. -concerto  (op.  8),  variations  for 
string-quartet,  minor  pf  .-pieces,  etc. 

Boccheri'ni,  Luigi,  b.  Lucca,  Italy,  Feb. 
19,  1743;  d.  Madrid,  May  28,  1805. 
Pupil  of  Abbate  Vannucci,  and  studied  later 
in  Rome.  Being  a  fine  'cellist,  he  undertook 
a  long  concert-tour  with  the  violinist  Man- 
fredi;  in  1768  they  were  in  Paris,  and  B. 
publ.  his  op.  1  (6  string-quartets),  also  2  books 
of  trios  for  2  vlns.  and 'cello.  These  charming 
works  established  his  fame  as  a  chamber- 


composer.  In  1769  he  settled  in  Madrid  as 
chamber- virtuoso  to  the  Infante  Luis,  and 
later  to  the  King.  In  1787  he  dedicated  a 
work  to  Friedrich  Wilhelm  II  of  Prussia,  who 
thereupon  conferred  on  him  the  title  of  cham- 
ber-composer, with  a  salary  which  ceased  at 
the  King's  death  in  1797.  After  this,  except- 
ing a  brief  period  under  the  munificent  pa- 
tronage of  Lucien  Bonaparte,  *  B.'s  affairs 
went  from  bad  to  worse,  and  he  died  in  ex- 
treme poverty.  He  was  a  prolific  chamber- 
composer  (2  octets,  16  sextets,  12j>  string- 
quintets,  12  pf. -quintets,  18  quintets  f.  strings 
and  flute  [or  oboe],  91  string-quartets,  54 
string-trios,  42  trios,  sonatas  and  duets  for 
vln.,  etc.  Also  20  symphonies,  an  opera,  an 
orchestral  suite,  a  'cello-concerto,  sacred 
music,  etc.  Monographs  on  B.'s  life  and 
works  by  L.  Picquot  (Paris,  1851);  D.  M. 
Ceru,  Cenni  intorno  alia  vita  e  le  opere  di  L.  B. 
(Lucca,  1864);  G.  Malfatti,  L.  B.neW  arte, 
nella  vita  e  netle  opere  (Lucca,  1905) ;  H.  M. 
Schletterer,  B.  (Leipzig,  1882,  Br.  &  H.).— 
See  Q.-Lex. 

BochTcoltz-Falconl,  Anna  (rede  Bock- 
holtz),  b.  Frankfort,  1820;  d.  Paris,  Dec.  24, 
1879.  Vocalist,  pupil  of  Brussels  Cons. 
Settled  in  Paris,  as  a  teacher,  in  1856.  She 
published  songs  and  vocal  studies. 

Boch'sa,  Karl,  b.  Bohemia;  d.  Paris, 
1821,  asa  music-seller.  He  was  previously 
oboist  in  Lyons  and  Bordeaux  theatres. 
— Works:  9  quartets  for  clarinet  and  strings; 
9  quartets  for  oboe  and  strings;  6  duos  con- 
certants  for  2  oboes;  a  clarinet -concerto;  2 
quintets;  a  Method  for  Flute;  do.  f.  Clarinet. 

Boch'sa,    Robert-Nicolas-Charles,    son 

of  Karl  B.;  b.  Montmedy,  Meuse,  Aug.  9, 
1789;  d.  Sydney,  Australia,  Jan.  6,  1856.  At 
first  his  father's  pupil,  he  played  in  public  at 
7,  wrote  a  symphony  at  9,  and  an  opera  at  16. 
He  studied  under  Fr.  Beck  (Bordeaux),  and 
Mehul  and  Catel  at  Paris  Cons.  (1806);  Na- 
derman  and  Marin  were  his  harp- teachers, 
but  he  devised  novel  methods;  he  became 
harpist  to  Napoleon,  and  also  to  Louis 
XVIII.  Detected  in  forgeries,  he  fled  to 
London  (1817);  Parish- Alvars  and  Chatter- 
ton  were  his  pupils  there.  With  Smart  he 
inaugurated  the  Lenten  oratorios  in  1822, 
conducting  them  alone  from  1823.  He  was 
harp-prof,  at  the  Acad,  of  Music  from  1822-7, 
when  he  was  dismissed;  from  1826-32  he 
conducted  Italian  opera  at  the  King's  Th.;  in 
1839  he  eloped  with  Sir  Henry  Bishop's  wife, 
made  long  concert-tours  with  her  in  Europe 
and  America,  and  finally  went  to  Australia. — 
Works:  9  French  operas,  one  prod,  in  Lyons 
(1804),  the  rest  in  Paris  (1813-16);  4  ballets; 
an  oratorio;  orchestral  music,  etc.;  very  many 
compositions  of  all  kinds  for  harp;  and  a 
Method  for  Harp  (a  standard  work). — Under 


95 


BOCKELER— boEllmann 


the  title  Un  musicien  voleur,  faussaire  et 
bigame  Arthur  Pougin  published  a  series  of 
articles  in  'Le  M6nestrel  (Jan.  13  to  March  9, 
1907)  on  the  career  of  this  erratic  harpist. 

Bdck'eler,  Heinrich,  b.  Cologne,  July  11, 
1836;  d.  Aix-la-Chapelle,  Feb.  20,  1899.  In 
1862  he  was  vicar-choral  and  conductor  of 
cathedral -choir  at  Aix-la-Chapelle;  from  1876, 
editor  of  the  'Gregorius-Blatt.'  —  Works: 
Church-music;  choruses  for  men's  voices. 

Booklet,  Karl  Maria  von,  brilliant 
pianist;  b.  Prague,  1801;  d.  Vienna,  July  15, 
1881.  Pupil  of  £awora  (Prague)  and  Hummel 
(Weimar)  for  pf.;  of  Dionys  Weber  (Prague) 
for  comp.;  and  of  Pixis  for  violin.  In  1820, 
violinist  at  the  Vienna  'Th.  an  der  Wien'; 
later  he  embraced  the  career  of  a  concert- 
pianist  and  pf. -teacher;  Louis  Kohler  and 
Jacob  Blumenthal  were  his  pupils. 

Bocquillon-Wilhem  [bdh-ke-ydhn'],  G. 
L.     See  Wilheh. 

Bodafizky,  Artur,  b.  Vienna,  Dec.  16, 
1877.  Having  graduated  from  the  Vienna 
Cons.,  he  began  his  career  in  1897  as  one  of 
the  first  violins  at  the  Court  Opera,  continu- 
ing his  studies  in  comp.  with  A.  von  Zem- 
linski;  1900,  cond.  of  operettas  at  the  Stadt- 
th.  in  Budweis;  1901,  at  Karl-Th.  in  Vienna; 
1903,  corrcpetitor  and  assistant  to  Mahler  at 
the  Court  Opera;  1904,  cond.  at  Th.  an  der 
Wien;  1905,  first  cond.  at  Lortzing  Th.  in 
Berlin;  1906-9,  cond.  at  the  Landestheater 
in  Prague,  and  also  of  the  symph.  concerts. 
Here  his  excellent  work  attracted  such  at- 
tention that  in  1909  he  was  called  to  Mann- 
heim as  first  cond.  and  operatic  director  at 
the  Grand-Ducal  Th.;  also  cond.  of  symph. 
and  oratorio  concerts.  In  1912  he  arranged  a 
3-day  Mahler  festival,  when  he  cond.  a  body 
of  1,500  vocalists  and  instrumentalists.  The 
overwhelming  success  of  the  first  Parsifal 
performances  in  England,  which  he  cond.  at 
Covent  Garden  in  1914,  was  largely  instru- 
mental in  determining  his  selection  as  Hertz' 
successor  for  the  German  operas  at  the 
M.  O.  H.,  where  he  chose  tor  his  debut 
GoUerdammerung  on  Nov.  17,  1915.  He  is  a 
conductor  of  the  Mahler  type,  forceful, 
authoritative,  electrifying;  a  wonderful  builder 
of  climaxes,  a  master  in  the  distribution  of 
light  and  shade  and  in  maintaining  a  just 
balance  between  voices  and  orchestra.  At 
all  times  he  secures  a  full,  mellow  tone;  even 
in  the  most  tremendous  fortissimos  the 
orchestra  is  always  euphonious. 

Bo'de,    Johann    Joachim    Christoph, 

b.  Barum,  Brunswick,  Jan.  16,  1730;  d.  Wei- 
mar, Dec.  13,  1793.  Oboist  in  Cettc,  1755; 
from  1762-3,  music-teacher  and  editor  at 
Hamburg,  and  later  became  Lessing's  partner 
as  printer  and  publisher.    Settled  in  Weimar 


1778.    Published  concertos  for  'cello,  bassoon 
and  vln.;  symphonies,  etc. 

Bo'denschatz,  Erhard,  b.  Lichtenberg, 
Saxony,  1576;  d.  as  pastor  at  Gross-Oster- 
hausen,  near  Querf  urt,  in  1638.  He  published 
valuable  collections:  FloriUgium  Portense 
(Leipzig,  1603  and  1618),  containing  115 
motets;  ditto  (2nd  part,  Leipzig,  1621),  con- 
taining 150  motets,  all  by  contemporaries; 
also  Florilegium  selectissimorum  hymnorum 
for  schools  (1606;  last  ed.  1721).  His  own 
compositions  arc  less  interesting. — See  Q.-Lex. 

Boe'decker  [bo-],  Louis,  pianist,  music- 
teacher  and  critic;  b.  Hamburg,  1845;  d. 
there  June  5,  1899.  Pupil  of  £.  Marxsen. 
Publ.  works:  a  PhantasieSonate  for  pf.  and 
violin;  a  Trio-Phantasie;  about  30  pf. -pieces; 
songs;  in  MS.,  orchestral,  choral,  and  cham- 
ber-music. 

Boehe,  Ernst,  composer;  b.  Munich, 
Dec.  27,  1880;  studied  theory  with  R.  Louis 
and  Thuille,  and  pf  .-playing  with  H.  Schwartz. 
In  1907  he  cond.,  with  Courvoisier,  the 
<Volkssymphontekonzerte,  in  Munich;  since 
1913,  Hofkapellm.  in  Oldenburg.  He  has 
brought  out  a  number  of  important  orchestral 
works:  4  episodes  from  Odysseus1  Fakrten 
(Odysseus*  A  usfahrt  und  Schiffbruch,  Die  Jnsel 
der  Kirke,  Die  Klage  der  Nausikaa,  Odysseus' 
Heimkehr).  the  first  prod,  in  London,  1906; 
the  symph.  poem  Taormina;  a  Tragische 
Ouvertiire;  Symph.  Epilog  su  einer  Tragodie; 
Eine  Komodienouverture;  also  songs  with 
orchestra;  etc; 

Boehm;  Boehme.    See  B&hm,  Bohme. 

Boelcelmann  [boo-],  Bernardus,  pianist; 
b.  Utrecht,  Holland.  June  9,  1838.  Pupil  of 
his  father,  musical  director  A.  J.  B.;  studied 
1857-60,  under  Moscheles,  Richter  and 
Hauptmann,  at  Leipzig  Cons.;  1862-4,  pri- 
vate pupil  of  BQlow,  Kiel  and  Weitzmann  at 
Berlin,  also  teaching  at  Stern's  Cons.  Since 
1866  in  New  York,  where  he  founded  and 
directed  (till  1888)  the  N.  Y.  Trio  Club  for 
chamber-concerts.  From  1883-97,  Mus.  Dir. 
at  the  Ladies'  School  in  Farmington,  Conn.; 
since  then  private  instructor  in  New  York. 
B.  is  a  well-known  teacher  and  player.  Has 
composed  for  orch.,  and  has  publ.  special 
etudes  for  pf.;  solo  pieces  for  pf.,  4  and  8 
hands;  pieces  for  vln.  and  pf.;  and  songs. 
His  analytical  edition  of  Baclrs  WeU-Umpered 
Clavichord  and  2-part  Inventions,  in  colors, 
is  unique. 

Boellmann,  Leon,  comp.  and  organist; 
b.  Ensisheim,  Alsatia,  Sept.  25,  1862; 
d.  Paris,  Oct.  11,  1897.  A  pupil  of  the  Nie- 
dermeyer  School,  Paris,  his  teacher  being  the 
celebrated  organist  Gigout,  in  whose  Organ 
School  B.  taught  later.  A  successful  comp. 
in  almost  all  styles,  he  left  68  published 
works;  among  his  noteworthy  comps.  are  a 


96 


bo£ly— bOhme 


symphony  in  F;  Variations  symphoniques  for 
'cello  and  orch.;  a  Fantaisie  dtaloguie  for  orch. 
with  organ;  Suite  gothique  for  organ;  a  pf.- 
quartet;  a  pf.-trio;  a  sonata  for  'cello;  Rhap- 
sodic carnavalesque  for  pf.  4  hands;  Heures 
mystiques  (a  coll.  of.  100  pieces  for  organ). — 
Ct.  P.  Locard,  L.  B.  (Strassburg,  1901). 

Boeiy,    Alexandre-Pierre-Francois,    b. 

Versailles,  April  19,  1785;  d.  Paris,  Dec.  27, 
1858.  Pianist;  also  vln. -pupil  of  Ladurner  at 
Paris  Cons.,  and  organist  (for  some  years  at 
St. -Germain  1'Auxerrois).  He  wrote  a  mass 
f .  Christmas,  4  offertoires  and  many  other  pes. 
f.  org.,  much  pf. -music,  and  3  string-trios,  etc. 

Boers  [boors],  Joseph  Karel,  b.  Nym- 
wegen,  Holland,  1812;  d.  Delft,  Oct.  1,  1896. 
Pupil  of  Ltibeck  in  R.  Cons,  at  The  Hague; 
1831,  cond.  at  R.  Th.  there.     Held  similar 
posts  at  Paris  and  Mctz;  1841,  app.  prof,  at 
the  Normal  School,  Nymwegen,  and  cond.  of 
Choral  Society;  1853,  music-director  at  Delft. 
He  wrote  an  interesting  History  of  Musical 
Instrs.  in  the  Middle  Ages;  also  a  complete 
bibliography  of  ancient  and  modern  musical 
works  produced  in  the  Netherlands.    Comp. 
a  symphony,  overtures,  cantatas,  songs,  etc. 

Boesset  [bw£hs-sa'],  Antoine,  Sieur  de 
VUledieu,  Intendant  of  Music  to  Louis 
XIII;  b.  circa  1585;  d.  1643.  Celebrated  as 
the  composer  of  many  A  irs  de  cour  in  4  or  5 
parts,  and  of  numerous  ballets. 

Boetius  [bo-a'ti-us]  (or  Boethius),  Anl- 
cius   Manlius   Torquatus   Severinus,    b. 

Rome  circa  475  A.  D.t  executed  524  (6?),  on 
suspicion  of  treason,  by  Theodoric,  whose 
counsellor  he  had  been  for  years.  Philosopher 
and  mathematician;  author  of  De  Musica,  a 
Latin  treatise  (in  5  books)  on  Greek  music, 
which  was  the  chief  source  for  the  theorizing 
monks  of  the  middle  ages.  Besides  MSS.  in 
many  libraries,  De  Mustca  has  been  published 
at  Venice  (1491-2  and  '99),  Basel  (1570),  and 
Leipzig  (1867);  and  in  a  German  transl.  by 
Oscar  Paul,  with  interesting  introduction,  at 
Leipzig  (1872);  a  French  transl.  by  Fetis. 
remained.  MS. 

Bohl'mann,  Georg  Karl,  b.  Copenhagen, 
April  8,  1838;  organist  and  music-director 
there.  Has  written  numerous  vocal  and 
orchl.  works  (e.  g.,  the  overture  The  Vikings* 
Voyage). 

Bohl'mann,  Theodor  Heinrich  Fried- 
rich,  pianist;  b.  Osterwieck  am  Harz,  Ger- 
many, June  23,  1865;  studied  with  Dr.  Stade 
(Leipzig),  Barth,  Klindworth,  Tiersch,  d'Al- 
bert,  and  Moszkowski  (Berlin).  Debut  Ber- 
lin, March  3,  1890,  marked  success;  concert- 
tour  in  Germany.  From  Sept.,  1890,  prof, 
of  pf.  at  Cincinnati  Cons.  lias  given  many 
successful  concerts. 


Bohm,   Karl,  b.  Berlin,  Sept.  11,  1844; 

?upil  of  LSschhorn,  Reissmann,  and  Geyer. 
ianist  and  sofon-composer;  lives  in  Berlin. — 
Works:  Trios,  pf  .-pieces,  vln.-music,  songs. 

Bohm,  Georg,  organist  and  clavichord ist; 
b.  Hohenkirchen,  Thuringia,  Sept.,  1661;  d. 
Liineburg,  May  18,  1733.  His  organ  preludes 
and  compositions  for  harpsichord,  rank  high 
among  works  of  the  time.  Monograph  by 
Buchmayer  in  the  'Programmbucn  des  4. 
Bachfestes'  (1908). 

Btthm,  Josef,  b.  Ktihnitz,  Moravia,  Feb. 
9,  1841;  d.  Vienna,  Nov.  6,  1893.  Pupil  of 
Booklet  and  Krenn,  Vienna;  1865  organist, 
1867  choirmaster,  1877  Kapellm.,  at  the 
Hofpfarrkirche,  Vienna;  also  director  of  the 
school  of  church-music  of  the  Ambrosius- 
Verein. 

B5hm,  Joseph,  b.  Pest,  Mar.  4,  1795;  d. 
Vienna,  Mar.  28,  1876.  Violinist,  pupil  of 
his  father;  at  8  years  of  age  he  made  a 
concert-tour  to  Poland  and  Petrograd,  where 
he  studied  for  some  years  under  P.  Rode. 
His  first  concert  at  Vienna  (1815)  was  very 
successful;  after  a  trip  to  Italy,  he  was  app. 
(1819)  vln.-prof.  at  Vienna  Cons.,  and  (1821) 
entered  the  Imp.  orch.  He  formed  dis- 
tinguished pupils — Joachim,  Ernst,  Auer, 
Hellmesberger  (Sr.),  Singer,  Ludwig,  Strauss, 
Rappoldi,  Hauser,  etc.  Retired  from  Cons. 
1848,  from  orch.  1868. — Wrote  concert-pes. 
and  quartets;  also  duets,  songs,  etc. 

B6hm,  Theobald,  inventor  of  the  'B6hm 
flute';  b.  Munich,  Apr.  9,  1794;  d.  there  Nov. 
25,  1881.  Flutist,  comp.  f.  ft.,  'Hofmusikus,' 
and  member  of  the  royal  orch. — His  system 
of  construction  marks  a  new  departure  in  the 
make  of  wood-wind  instrs.  To  render  the 
flute  acoustically  perfect,  he  fixed  the  position 
and  size  of  the  holes  so  as  to  obtain,  not 
convenience  in  fingering,  but  purity  and 
fullness  of  tone;  all  holes  are  covered  by  keys, 
whereby  prompt  and  accurate  'speaking'  is 
assured;  and  the  bore  is  modified,  rendering 
the  tone  much  fuller  and  mellower. — B.  publ. 
Vber  den  Flatenbau  und  die  neuesten  Verbesse- 
rungen  desselben  (Mayence,  1847;  Engl, 
transl.  by  W.  S.  Broidwood,  London,  1882). 
— See  Ch.  Welch,  History  of  the  Boehm  Flute 
(London,  1896);  and  V.  Mahillon,  £tude  sur 
le  doigti  de  la  fl&te  Boehm  (1885). 

Bdh'me,  August  Julius  Ferdinand,  b. 

Gandersheim,  Brunswick,  Feb.  4,  1815;  d. 
there  May  30, 1883.  Pupil  of  Spohr ;  Kapellm. 
of  theatres  at^  Berne  and  Geneva;  1846-76 
cond.  of  the  'Euterpe'  at  Dordrecht,  Comp. 
orchestral  and  chamber-music,  songs,  etc. 

Bdh'me,  Franz  Magnus,  b.  Willcrstedt, 
n.  Weimar,  Mar.  11,  1827;  d.  Dresden,  Oct. 
18,  1898.  Pupil  of  J.  G.  Topfer  (Weimar), 
and  Hauptmann  and  Rietz  (Leipzig).    For  11 


97 


BOHME— BOIELDIEU 


years  school-teacher,  then  for  20  years 
music-teacher  in  Dresden;  received  the  title ' 
of  'Prof.'  from  the  Kins;  1878,  teacher  of  cpt. 
and  hist,  of  music  at  Hoch  Cons.,  Frankfort; 
retired  1885  to  Dresden. — Literary  works: 
Altdeutsches  Liederbuch  (Leipzig,  1877;  a  coll. 
of  German  folk-songs — words  and  melodies — 
of  the  12th-17th  centuries):  Aufgabenbuch 
zum  Studium  der  Harmonic  (1880);  Kursus 
der  Harmonie  (Mayence,  1882) ;  Geschichte  des 
Tanzes  in  Deutschland  (Leipzig,  1886);  Volks- 
tiimliche  Lieder  der  Deutschen  im  18.  und  19. 
Jahrh.  (Leipzig,  1895,  pp.  628) ;  Deulsches  Kin- 
derlied  und  Kindersfid  (1897).— He  edited 
Erk's  Deulscher  Liederhort  (new  ed.,  3  vols., 
1893-94);  and  pubf.  several  books  of  sacred 
part-songs  and  male  choruses. 

Boh'me,  Willy,  b.  Dessau,  Nov.  16,  1861; 
pupil  of  Bartels,  Rosier,  Diedccke  and  Thicle, 
then  1881-6  of  the  R.  Hochschulc  at  Berlin, 
where  he  has  establ.  a  conservatory. — Works: 
An  opera,  Der  Cid  (Dessau,  1887);  a  symph.; 
an  overture;  the  cantata  Kaiser  Wilhelms 
Meerfahrt  (1893);  also  'Marinelieder'  and 
'Nationallieder'  f.  male  chorus. 

Btth'mer,   Karl    (Hermann   Ehrfried), 

violinist  and  composer;  b.  The  Hague,  Nov. 
6,  1799;  d.  Berlin,  July  20,  1884.  Pupil  of 
Polledro;  1835,  member  of  the  royal  orch., 
Berlin. — Works:  Operas  (Meerkonig  und  sein 
Liebchen,  etc.),  orchestral  music,  much  violin- 
music,  etc. 

Bohn,  Emil,  b.  Bielau,  n.  Neisse,  Jan.  14, 
1839;  d.  Breslau,  July  5,  1909.  Student  of 
philol.  at  Breslau;  but  later  devoted  himself 
to  music.  1868,  ore.  of  the  Kreuzkirche, 
Breslau;  also  founded  the  Bohn  Choral 
Society,  noted  for  its  historical  concerts. 
1884,  Ph.  D.  (hon.  c,  Breslau),  director  of 
the  University  Choral  Society,  and  lecturer 
at  the  Univ.;  also  mus.  critic  of  the  'Bres- 
lauer  Zeitung.'  1895,  'R.  Prof.'  of  Music; 
1908  full  professor  at  the  Univ.— -  Works: 
Bibliographie  d.  Musikdruckwerke  bis  1700, 
welche  auf  der  Universitdtsbibliothek,  etc.,  zu 
Breslau  aufbewahrt  werden  (1883);  Die  mus. 
Handschriften  des  16.  und  17.  Jahrh.  in  der 
Stadtbibl.  zu  Breslau  (1890);  Die  National- 
hymnen  der  europdischen  Volker  (1908).— He 
composed  part-songs  and  songs;  and  edited 
the  pf.-works  of  Mendelssohn  and  Chopin. 

Bdh'ner,  (Johann)  Ludwig,  b.  Tottel- 
stedt,  n.  Gotha,  Jan.  8,  1787;  d.  Gotha,  Mar. 
28,  1860.  A  composer  of  great  talent  but 
weak  character — the  reputed  original  of  E. 
A.  T.  Hoffmann's  'Kreisler.'  Excepting  a 
year  (1810)  as  Kapellm.  at  Nuremberg,  he 
led  a  roving  life,  and  finally  became  addicted 
to  drink. — Works:  An  opera,  Der  Dreiherrn- 
slein;  overtures,  marches,  dances,  etc.,  f. 
orch.;  concertos  and  sonatas  f.  pf.;  much  left 
in  MS. 


Boh'rer,  Anton,  b.  Munich,  1783;  d. 
Hanover,  1852.  Violinist,  pupil  of  R.  Kreut- 
zer  in  Paris.  Composed  chamber-music,  also 
concertos  and  solo- pes.  f.  vln.  With  his 
brother  Max,  the  'cellist,  he  was  a  member  of 
the  Bavarian  court  orch-.;  from  1810-14  the 
two  made  tours  through  Austria,  Poland, 
Russia,  Scandinavia  and  England;  1815  in 
France,  1820  in  Italy.  In  1834,  Anton 
became  leader  of  the  orch.  at  Hanover. 

Boh'rer,  Max,  'cello-virtuoso;  b.  Mann- 
heim, 1785;  d.  Stuttgart,  Feb.  28,  1867. 
After  long  concert-tours  with  Anton,  he 
settled  (1832)  in  Stuttgart  as  first  'cellist  in 
the  orch.  Tour  in  the  United  States,  1842-43. 
Compositions  of  minor  importance. 

Boieldleu  [bwah-el-dVo'],  Adrlen(-Louto- 
Vlctor),  son  of  F.-A.  B.;  b.  Paris,  Nov.  3, 
1816;  d.  Quincy,  July  9,  1883.  Wrote 
several  attractive  operas  and  operettas;  also 
masses,  cantatas,  etc. 

Boieldleu,  Francois- Adri en,  French  dra- 
matic comp.jb.  Rouen,  Dec.  16, 1775;d.  Jarcy, 
n.  Grosbois,  Oct.  8,  1834.    Son  of  Archbishop 
Larochefoucauld's  secretary;  his  mother  was 
a  milliner.    Through  conjugal  differences,  the 
pair  were  divorced,  and  the  boy  was  appren- 
ticed to  Broche,  the  cathedral  organist,  a 
pupil  of  Padre  Martini.     Broche,  of  intem- 
perate habits,  was  brutal;  the  boy,  at   12 
years  of  age,  ran  away;  he  went  on  foot  to 
Paris,   ana  was  with  difficulty   found   and 
brought  back.    Broche  appears  to  have  been 
his  only   teacher  in   youth,   natural   talent 
supplying  the  lack  of  serious  study.    At  18 
years  of  age  he  prod,  with  success  an  opera  to 
his  father's  libretto,  La  Fille  coupable  (Rouen, 
1793),  followed,  in  1795,  by  Rosalie  et  Myrza. 
His  local  reputation  encouraged  him  to  extend 
his  sphere,  and  again  he  walked  to  Paris, 
but  his  reception  was  chilling,  and  he  was 
glad  to  earn  a  living  by  teaching  and  piano- 
tuning,    firard   employing   him.      He   made 
the  acquaintance  of   Menul,   Rode,   Cheru- 
bini,  and  Garat  the  tenor,   who  sang  the 
young  man's  songs  in  public,  and  thus  pro- 
cured him  recognition  and  a  publisher.    Le 
Menestrel,  S'il  est  vrai  que  d'Ure  deux,  O  toi 
quej'aime,  are  still  found  on  concert-programs. 
Fievee  the  novelist  wrote  him  a  libretto,  and 
La  Dot  de  Suzette,  in  one  act,  was  prod,  with 
success  (Opera-Corn.,  1795),  followed  by  Les 
deux  LeUres  (1796),  and  in  1797  by  La  Famille 
Suisse  (Th.-Feydeau).    1798  saw  the  produc- 
tion of  pf. -sonatas,  pf.-  and  harp-duets,  and  a 
pf.-concertb;  their  success  obtained  for  him, 
2  years  later,  the  appointment  of  professor  of 
piano  at  the  Paris  Conservatory.    Zoraime  et 
Zulnare  (1798),  Beniowski,  and  Le  Calif e  de 
Bagdad    (1800),    added    to    his    reputation. 
Cherubini  good-naturedly  twitted  him  on  his 
'undeserved   success,'  and   B.   took  a  strict 


98 


BOISDEFFRE— BOISSELOT 


course  of  contrapuntal  study,  benefiting  much 
by  the  advice  of  Cherubini  and  Mehul. 
Three  years  elapsed,  and  Ma  tante  Aurore 
(Th.-Feydeau,  1803),  showed  marked  im- 
provement, and  was  greeted  with  great 
applause.  In  1802  he  had  married  Clotilde- 
Auguste  Mafleuroy,  a  ballet-dancer,  and  the 
conjugal  misery  that  resulted  led  to  his  self- 
expatriation  in  1803.  He  went  to  Petrograd, 
and  was  app.  cond.  of  the  Imperial  Opera, 
with  a  handsome  salary.  He  stayed  in  Russia 
8  years;  his  contract  included  3  operas  per 
annum,  and  a  number  of  military  marches, 
but  of  this  period  little  was  worthy  of  pre- . 
servation.  The  war  between  Russia  and 
France  caused  his  return  to  Paris,  in  1811. 
A  revival  of  Ma  tante  Aurore,  the  production 
of  a  revised  version  of  Rien  de  trop  (comp. 
in  Russia),  followed  in  1812  by  Jean  de 
Paris,  created  the  wildest  enthusiasm,  opera 
having  been  at  a  low  ebb  for  some  time.  In 
1817  he  succeeded  Mehul  as  prof,  of  comp. 
at  the  Cons.,  and  was  elected  a  member  of 
the  'Institute  In  1818  Le  petit  chaperon  rouge 
was  another  triumph.  In  1821  he  was 
created  Chevalier  of  the  Legion  of  Honor. 
Precarious  health  caused  a  silence  of  7  years, 
but  in  1825  La  Dame  blanche  met  with  un- 
paralled  success,  and  remains  his  masterpiece. 
He  was  well  remunerated  for  his  last  opera, 
Les  deux  nuits  (1829),  but  it  was  a  failure. 
In  delicate  health,  with  pulmonary  trouble 
contracted  in  Russia,  mortification  and  dis- 
appointment aggravated  the  disorder.  His 
first  wife  had  died  in  1825,  and  in  1827  he 
married  Mile.  Phillis,  a  singer,  and  the 
mother  of  his  only  son  Adrien.  This  union 
was  most  happy,  and  in  his  last  days  of  illness 
and  pecuniary  difficulties  he  was  much 
consoled  by  her  kindly  care  and  unswerving 
fidelity.  He  had  retired  from  the  Cons,  in 
1829,  with  a  pension,  but  in  1830  the  new 
government  revoked  the  pension.  He  applied 
for  reinstatement  at  the  Cons.,  was  reappoint- 
ed, but  did  not  teach  again;  for  Thiers, 
minister  of  Louis  Philippe,  recognized  the 
master's  work,  and  relieved  his  anxieties  by 
an  annual  grant  of  6000  francs.  A  journey 
to  Pisa  in  search  of  health  was  of  no  benefit; 
he  returned  to  Paris,  but  again  had  to -seek 
the  mild  Southern  climate,  and  died  at  his 
country-house  at  Jarcy. — Among  his  pupils 
were  Zimmerman,  Fetis,  Adam,  and  Labarre. 
— Boieldieu  ranks  as  the  foremost  composer 
of  his  generation,  of  French  'opera  comique.' 
Despite  the  carelessness  of  his  early  education, 
his  masterpieces  exhibit  evidences  "of  pains- 
taking and  conscientious  labor,  resulting  in 
a  high  degree  of  finish  and  perfection.  Besides 
the  operas  mentioned,  he  collaborated  with 
Cherubini  in  La  Prisonniere  (1799);  with 
Mehul,  Kreutzer,  et  al.,  in  Le  Baiser  et  la 
Quittance  (1802) ;  with  Cherubini,  Catel,  and 


99 


Nicolo  Isouard — his  former  rivals — in  Bayard 
a  Mesieres;  with  Kreutzer  in  Henri  IV  en 
voyage  (1814);  with  Mme.  Gail,  pupil  of  Fetis, 
in  Ang&la,  ou  V Atelier  de  Jean  Cousin  (1814); 
with  Herold  in  Charles  de  France;  with  Cheru- 
bini, Berton,  et  al.,  in  La  Courdes  Fees  (1821); 
with  Auber  in  Les  trois  Genres;  with  Cheru- 
bini, Berton,  et  al.,  in  Pharamond;  with  Ber- 
ton, et  al.,  in  La  Marquise  de  Brinvilliers. — 
Biographical:  G.  Hequest,  A.  B.t  sa  vie  et  ses 
ceuvres  (Paris,  1846;  pp.  115);  A.  Pougin,  B.f 
savie  et  ses  auvres  (Paris,  1875);  Lucien  Auge 
de  Lassus,  B.,  in  series  'Les  Musiciens  ce- 
lebres'  (Paris,  1908;  pp.  125,  with  list  of 
minor  publications  concerning  B.);  P.  L. 
Robert,  Correspondence  de  B.  (Turin,  1912). 
— See  Q.-Lex. 

Boiadeffre  [bwah-def'fr],  Charles-Henri- 
Rene  de,  b.  Vesoul  (Haute-Savoie),  April  3, 
1838;  d.  at  his  estate  Vczelise,  Dec.  (?),  1906. 
Pupil  of  Ch.  Wagner  and  Barbereau  in  Paris, 
where  he  resided.  Composer;  in  1883  the 
Prix  Chart ier  was  awarded  him  for  chamber- 
music. — Works:  A  symphony  in  A  m.  (1883); 
Scenes  champitres  f.  orch.;  pf. -sextet  (op.  43); 
2  pf. -quintets  (op.  11  and  25);  a  pf. -quartet 
(op.  13);  2  pf. -trios  (op.  10  and  32);  pf.- 
sonatas,  Romances  sans  paroles,  Melodies; 
Messe  solennelle  (1890);  Cantique  des  cantiaues 
for  soli,  ch.  and  orch.  (op.  16) ;  Moise  sauve  des 
edux  (op.  18);  choruses  Dans  la  forU  (op. 
41)  and  Les  lendemains  de  la  vie  (op.  46); 
etc. — Cf.  H.  Imbert's  'Nouveaux  Profils  de 
Musiciens'  (Paris,  1892). 

Boise,  Otis  Bardwell,  b.  Oberlin,  Ohio, 
Aug.  13,  1845;  d.  Baltimore,  Dec.  16,  1912. 
Organist  at  14.  In  1861  studied  under 
Hauptmann,  Richter,  Moscheles,  etc.,  at 
Leipzig;  1864  under  Kullak  at  Berlin.  1864- 
70,  organist  and  teacher  in  Cleveland; 
1870-76,  in  New  York;  1876-78,  spent  in 
Europe.  He  taught  in  Berlin  1888-1901; 
since  then,  prof,  of  theory  and  comp.  at  the 
Peabody  Inst.,  Baltimore.  Among  his  pupils 
are  Ernest  Hutcheson,  Howard  Brockway, 
Percy  Atherton,  and  Arthur  Nevin. — Works: 
Symphonies  and  overtures  for  orch.;  pf.- 
concertos,  and  minor  pieces;  also  a  text -book, 
Harmony  Made  Practical  (N.  Y.  1900). 

Boisselot    [bwahs-I6h'],    Jean-Louis,    b. 

Montpellier  circa  1785;  d.  Marseilles,  1847. 
A  maker  of  stringed  instrs.  at  Montpellier, 
he  removed  to  Marseilles  and  soon  set  up  a 
successful  piano-factory,  of  which  his  eldest 
son,  Louis  (1809-50),  was  the  manager; 
Francois,  the  present  proprietor,  is  the 
founder's  grandson. 

Boisselot,  Xavier,  second  son  of  J.-L.  B.; 
dramatic  composer;  b.  Montpellier,  Dec.  3, 
1811;  d.  Marseilles,  Apr.  10,  1893.— Works: 
The  operas  Ne  touches  pas  a  la  reine  (Paris, 


BOITO— BONA 


1847);  Mosquita  la  sorcilrc  (Paris,  1851); 
VAnge  dkchu  (Marseilles,  1869);  and  a  can- 
tata, Veiled*  (1836). 

Boito  [bd'e-tdh],  Arrigo,  poet  and  opera- 
composer;  b.  Padua,  Feb.  24,  1842.  From 
1856-62,  pupil  in  Milan  Cons,  of  Alberto 
Mazzucato  and  Ronchetti-Monteviti.  His 
first  important  ventures  were  two  cantatas, 
II  4  giugno  (1860)  and  Le  SoreUe  d' Italia 
(1,862;  w.  Faccio);  the  latter  being  so  succ. 
that  the  Italian  government  granted  the 
authors  not  only  the  usual  gold  medal,  but 
a  stipend  for  two  years'  foreign  travel.  B. 
spent  most  of  this  time  in  Paris,  the  remainder 
chiefly  in  Germany;  strongly  influenced  by 
hearing  and  studying  a  variety  of  French  and 
German  music  then  practically  unknown  in 
Milan,  where  nothing  but  Italian  or  French 
operas  interested  the  public,  he  wrote  the 
libretto  and  gradually  finished  the  music  for 
the  opera  Mefistofele  (Milan,  La  Scala,  Mar. 
5,  1868),  the  unusual  style  of  which  made 
warm  partisans,  but  also,  aroused  the  bitter 
opposition  of  the  strong  anti-Wagnerite 
faction,  so  that  the  opera  was  withdrawn 
after  a  second  performance.  Remodelled,  it 
has  met  with  success  at  Bologna  (1875), 
Hamburg  (1880),  and  Milan  (1881);  neverthe- 
less, two  others,  Nerone  and  Orestiade,  have 
never  been  offered  for  production,  and  of  an 
earlier  opera,  Ero  e  Leandro,  nothing  remains 
but  a  few  musical  themes  and  the  book.  B. 
ranks  high  as  a  poet  ('II  Libro  dei  Versi,' 
written  1861-7,  publ.  Turin,  1877,  under  the 
anagrammatic  pen-name  of  'Tobia  Gorrio'), 
and  is  the  author  of  all  his  own  libretti;  he 
has  made  admirable  translations  of  some 
others  {Tristan  und  Isolde,  Rienzi),  and 
wrote  the  books  for  Amleto  (Faccio),  Gioconda 
(Ponchielli),  Alessandro  Farnese  (Palumbo), 
Tram  (Dominiceti),  Otello  and  Falstaff 
(Verdi;  the  last  held  to  be  his  masterpiece), 
and  Un  Tramonto  (Corona to).  Is  also  a 
novelist  of  distinction.  From  the  King  he 
has  the  titles  of  'Cavaliere/  'Ufficiale,'  and 
'Commendatore';  in  1892  he  was  app.  In- 
spector-General of  Technical  Instruction  in 
the  Italian  Conservatories  and  Lyceums;  in 
1895  he  was  made  Chevalier  of  the  Legion 
of  Honor.  He  lives  in  Milan. — Cf.  C.  Trevor, 
B.'s  Nero  (in  'M.  T.,'  June,  1916). 

Bolck,  Oskar,  b.  Hohenstein,  East  Prus- 
sia, Mar.  4,  1837;  d.  Bremen,  May  2,  1888. 
Pupil  (1857)  of  Leipzig  Cons.  (Rietz  and 
Moscheles).  After  teaching  in  Leipzig,  Wi- 
borg  (Finland),  and  Liverpool,  he  became 
(1868)  Kapcllm.  at  the  Wiirzburg  Th.,  and 
1869  at  Aachen.  1875,  teacher  at  Riga, 
where  his  opera  Pierre  und  Robin  (1876)  was 
produced.  After  this  he  was  chorusmaster, 
in  turn,  at  Leipzig,  Hamburg,  and  Bremen. 
He  wrote  2  other  operas,  Gudrun  and  Der 


Schmied  von  Gretna  Green  (both  not  perf.), 
pf.-music,  songs,  etc. 

Bollinger,  Samuel,  pianist,  composer; 
b.  Fort  Smith,  Ark.,  Sept.  22,  1871.  #  Studied 
pf.  with  Emil  Winkler  and,  at  Leipzig  Cons., 
with  Reinecke,  Schreck,  and  others;  org. 
Amer.  Ch.,  Leipzig,  1893-5;  founded  Bollinger 
Cons,  at  Ft.  Smith  in  1896;  taught  in  San 
Francisco  (1897),  and  Chicago  (1906);  since 
1907  in  St.  Louis;  head  of  pf.  dept.  Strassber- 
ger  Cons. — Works:  Op.  3,  dramatic  overture, 
Pompilia  e  Caponsacchi,  for  orch.;  op.  9, 
Waltzes  for  orch.;  op.  17,  Romantic  Fantasy 
for  organ;  op.  18,  The  Sphinx,  fantasy-suite, 
five  scenes  for  orch.;  op.  19,  Sonata  for  pf. 
and  vln.;  numerous  works  for  pf. 

Bdl'sche,  Franz,  b.  Wegenstedt,  n.  Magde- 
burg, Aug.  20,  1869;  1889-94  pupil  of  the 
Berlin  ,Hochschule,  (Bargiel,  Spitta,  Hey- 
mann);  1896,  teacher  of  theory  in  Cologne 
Cons.  Editor,  for  the  'Denkmaler  deutscner 
Tonkunst,'  of  the  instrl.  works  of  Melchior 
Franck;  has  comp.  an  overture,  Judith, 
chamber-music,  pf.-pieces,  songs,  etc. 

Bol'te,  Johannes,  contemporary  German 
writer;  author  of  Die  Singspiele  der  englischen 
Comodianten  und  ihrer  Nachfolger  in  Deutsch- 
land,  Holland,  und  Scandinavian  (Leipzig, 
1893). 

Bolzo'ni,  Giovanni,  b.  Parma,  May  14, 
1841.  Pupil  of  del  Maino  (vl.)  and  Rossi 
(comp.)  at  the  Cons,  there;  began  as  violinist 
in  the  orch.  at  Savona;  during  the  next  six 
years  rose  to  leader  and  conductor;  3 
years  in  Perugia  as  cond.  and  dir.  of  'Istituto 
Morlacchi*;  lived  a  short  time  in  Piacenza; 
since  1887  dir.  of  the  'Istituto  Musicale,' 
leader  at  the  'Teatro  Regio'  and  'Concert! 
Popolari*  at  Turin. — Works:  The  operas  // 
Matrimonio  civile  (Parma,  1870),  La  Stella 
delle  Alpi  (Savona,  1876),  Jella  (Piacenza, 
1881);  Tema  con  variazioni  for  string-orch.; 
Al.Castello  medioevale  for  small  orch.;  a  sym- 
phony; quartets  and  quintets;  pieces  for  vln. 

Bomtem'po,  Joao  Domingo* ,  fine  pian- 
ist; b.  Lisbon,  Dec.  28,  1775;  d.  there  Aug. 
13,  1842.  He  went  in  1802  to  Paris  for 
study,  and  lived  there  and  in  London  till 
1818.  In  1833,  Director  of  Lisbon  Cons. — 
Works:  6  symphonies,  4  pf. -concertos,  14 
pf.-sextets,  a  pf.-quintet,  sonatas  and  vari- 
ations f.  pf.,  an  opera  (Alessandro  in  Efeso), 
several  masses,  a  requiem;  and  a  Method  for 
pf.   (London,   1816). 

Bo'na,  Giovanni,  cardinal;  b.  Mondovi, 
Oct.  12,  1609;  d.  Rome,  Oct.  25,  1674.  Wrote 
especially  De  divina  Psalmodia.  .  .  .  tractatus 
historicus,  symbolic**,  asceticus  (Rome,  1653), 
containing  valuable  information  on  ancient 
church-music.  Compl.  ed.  of  works  publ. 
Rome,  1747. 


100 


BONA—  BONONCINI 


Bo'na,  Valerio,  b.  Brescia,  c.  1560;  still 
living  in  1619;  Franciscan  monk,  in  1596  m. 
di  capp.  at  Milan.  Voluminous  composer 
of  sacred  and  secular  vocal  music;  also 
theorist;  publ.  Regale  del  Contrappunto  e 
Composizione  fCasale,  1595),  and  Essempi 
delli  Passaggi  delle  Consonance,  el  Dissonanze 
(Milan,  1596).— See  Q.-Lex. 

Bonaventu'ra,  Arnoldo,  b.  Leghorn,  July 
28,  1862.  St.  jurisprudence  and  chemistry, 
but  devoted  himself  entirely  to  musicology. 
Prof.  hist,  of  music  and  librarian  at  the  R. 
Inst,  of  Mus.  in  Florence. — Works:  Manuale 
di  storia  delta  musica  (Leghorn,  1898;  4th  ed. 
1913);ElementidiEstelicamusicale  (ib.f  1904); 
Storia  degli  stromenti  musicali  (ib.,  1908) ;  La 
vita  mustcale  in  Toscana  (Florence,  1910,  in 
'La  Toscana  al  fine  del  granducato' ) ;  Saggio 
storico  sul  teatro  musicale  italiano  (Leghorn, 
1913) ;  besides  num.  essays  in  various  journals. 

Bo'nawltz  (or  Bonewitz),  Johann  Hein- 
ilch,  b.  Durkheim-on-Rhine,  Dec.  4,  1839. 
Pianist,  pupil  of  the  Liege  Cons,  till  1852, 
when  his  parents  took  him  to  America. 
Lived  1861-6  in  Wiesbaden,  Paris,  and 
London,  giving  concerts  and  teaching.  From 
1872-3  he  conducted  the  Popular  Symphony 
Concerts  in  New  York,  an  enterprise  which 
failed  from  lack  of  popular  appreciation; 
after  a  successful  piamstic  tour  in  the  U.  S. 
(1873),  he  produced  2  operas  in  Philadelphia, 
The  Bride  of  Messina  (1874),  and  Ostrolenka 
(1875).  Returned  to  Europe,  1876,  and  has 
since  lived  in  Vienna  and  London.  He  has 
composed  2  other  operas  and  a  variety  of 
pf  .-music. 

Bon'cl  [-tche],  Alessandro,  lyric  stage- 
tenor;  b.  Cesena  (Romagna)  in  1870;  studied 
5  years  under  Carlo  redrotti  and  Felice 
Coen  at  the  Liceo  Rossini,  Pesaro,  and  in 
1896  made  his  debut  at  the  Teatro  Regio 
in  Parma  as  Fenton  in  Falstaff;  was  then 
eng.  to  give  Faust  at  the  T.  dal  Verme, 
Leghorn ;  next  at  La  Scala,  Milan,  in  /  Puri- 
tan*. Here  his  success  was  established;  he 
was  immediately  eng.  at  Petrograd,  then  at 
Vienna,  Berlin,  Lisbon,  Madrid,  London 
(1900),  etc.;  later  in  South  America  and 
Australia.  New  York  debut  in  Dec.,  1906, 
at  the  new  Manhattan  Opera  House  (Ham- 
merstein),  where  he  sang  during  three 
seasons;  1908-9  at  M.  O.  H.,  also  appearing 
at  Coven t  Garden  in  1908.  In  the  season 
of  1910-11  he  sang  in  concerts  in  the  U.  S. 
His  voice  is  a  distinctly  lyric  tenor- of  great 
sweetness  and  charm.  Favorite  rdles  are 
Almaviva  (Barbiere)  and  Rodolfo  (La  Bo- 
heme).  He  is  one  of  the  few  Italian  singers 
that  have  achieved  distinction  also  as  lieder 
singers. 

Bo'nicke,  Hermann,  b.  Endorf ,  Nov.  26, 
1821;  d.  Hermannstadt,  Transylvania,  Dec. 


12,  1879,  as  conductor  of^ne  Musical  Society 
there. — Works:  An  oper#,'*Der  Liebesring; 
part-songs  for  men's  vokie5;.*an  excellent 
Method  of  Choral  Singing;  -Wid  •Kunst  des 
freien  Orgelspiels  (a  valuable  wpfkj.. 

Boniven'ti   (or  Boneventi),*  'Giuseppe, 

dramatic comp. ;  b.  Venice,  c.  1660;  d?"(?)-.He 
was  m.  di  capp.  to  the  Duke  of  MantVia/Eafer 
to  the  court  of  Baden.    Wrote  11  opera|f"&Mr. 
Venice,  and  one  for  Turin.  **.♦* 


Bonnet  [bdhn-na'],  Jacques,  b.  Paris,  164*;, .  •  ••' 
d.  there  1724.     Publ.  Histoire  de  la  musique   '/  .• 
el  de  ses  effets,  depuis  son  origine  jusqu'a    V; 
pre* sent  (1715),  and  Histoire  de  la  danse  sacrie 
el  profane  (1723). — See  Q.-Lex. 

Bonnet,  Jean-Baptiste,  violinist  and 
composer;  b.  Montauban,  Apr.  23,  1763; 
organist  there  from  1802;  d.  (?)  Wrote 
violin-music  (2  concertos,  2  symphonies  con- 
certantes  f.  2  vlns.,  and  many  duos). 

Bon 'no  (or  Bono),  Joseph,  b.  Vienna, 
1710;  d.  there  Apr.  15,  1788.  In  1739,  im- 
perial court  comp.;  1/74,  court  Kapellm.; 
from  1732-62  he  wrote  20  operas  and  sere- 
nades; also  3  oratorios,  4-part  Psalms,  and  a 
Magnificat  (all  in  MS.). 

Bononci'ni  [-tche-]  (he  usually  wrote  his 
name   Buononcinl),    Giovanni    Battista, 

celebrated  dramatic  composer,  son  of  G.  M. 
B.;  b.  Modena,  1660;  d.  Venice  (?),  1750  (or 
later).  He  was  taught  at  first  by  his  father; 
then  by  G.  P.-  Colonna  and  Don  Giorgio 
Buoni  ('cello),  at  Bologna,  where  he  brought 
out  some  masses  and  instrumental  music 
(7  vols.,  publ.  1685-91),  and  3  oratorios;  in 
1690  he  was  called  to  Vienna  as  court  'cellist; 
went  to  Rome  in  1694,  there  producing  his 
first  opera,  Tullo  Ostilio,  and  a  second,  Serse 
(both  1694).  Returning  to  Vienna  in  1699, 
he  brought  out  La  Fede  pubUica  (1699)  and 
Gli  Affetti  piil  grandi  vtnti  dal  piil  jtiusto 
(1701);  then,  under  the  patronage  of  Queen 
Sophie  Charlotte,  he  spent  two  years  (1703- 
5)  at  Berlin  as  court  composer,  and  wrote 
Polifemo  (1703);  on  the  suppression  of  the 
opera-company  after  the  Queen's  death  (Feb. 
1,  1705),  B.  again  betook  himself  to  Vienna, 
where  several  new  operas  were  performed 
(Endimione,  1706;  Turno  Aricino,  1707;  Mario 
fuggitivo,  1708;  //  Sacrificio  di  Romolo,  1708; 
Abdolonimo,  1709;  Muzio  Scevola,  1710; 
etc.).  He  also  resided  and  wrote,  at  intervals, 
in  various  Italian  cities;  while  at  Rome,  in 
1716,  he  was  invited  to  London  as  conductor 
and  dramatic  composer  for  the  new  King's 
Theatre,  and  more  particularly,  under  the 
Duke  of  Marlborough's  protection,  as  the 
rival  of  Handel.  This  operatic  (almost 
political)  warfare  was  waged  with  varying 
success;  B.  prod.  A  star  to  (1720);  3  more, 
Cirot  Crispo,  and  Griselda,  in  1722;  Farnace 


101 


BONONCINI— BOOSEY 


(1723);  Erminia^mS);  Calpurnia  (1724); 
and  AstianattfJA^tianax]  (1727).  In  1731, 
however,  it  yas* asserted  that  "he  had  given 
out,  some.*ye*aVtf  previously,  a  madrigal  by 
A .  Lot t i  a£f>f  iftis  own  composition.  Disgraced 
by  this  supposed  act  of  plagiarism,  and 
crushea**f)y  Handel's  dramatic  supremacy, 
B.-Jtet  {wsition  and  friends;  in  1733  he  fell 
jrtto'tne  hands  of  an  alchemist,  who  swindled 
hint  but  of  the  remains  of  the  fortune  amassed 
. .  s  itt  Tiis  days'  of  triumph.  He  now  wandered 
m.m  \.*from  place  to  place;  turned  up  in  Paris,  a 
.  •*./.  "•  few  years  later,  when  he  comp.  a  motet 
\  *. "  for  the  'Chapelle  royale,'  playing  himself 
the  'cello-accomp.  before  the  King;  in  1737 
his  opera  Alessandro  in  Sidone,  and  an 
oratorio,  Esechia,  were  given  in  Vienna;  and 
after  the  peace  of  Aix-la-Chapelle  the  Em- 
peror summoned  him  to  Vienna  to  compose 
the  festival  music  celebrating  the  event 
(1748).  Soon  after  this  he  went  to  Venice, 
where  he  was  employed  as  theatre-composer, 
and  was  still  in  that  position  at  the  age  of 
90;  after  which  all  traces  of  him  are  lost. — 
In  London  B.  publ.  Suites  f.  harpsichord 
(n.  d.);  Cantate  e  Duetti,  dedicated  to  George 
I  (H2i);Divertimenti  for  harpsichord  (1722); 
and  12  sonatas  or  chamber  airs  for  2  violins 
and  a  bass  (1732). — See  Q.-Lex. 

Bononci'ni,  Giovanni  Maria,  b.  Modena, 
1640;  d.  there  Nov.  19,  1678.  Entered  very 
young  into  the  service  of  Duke  Francesco  II; 
became  later  m.  di  capp.  in  the  churches  of 
S.  Giovanni  in  Monte,  and  of  S.  Petronio, 
at  Bologna.— Publ.  12  vols.  (1666-78)  con- 
taining Sinfonie,  Gighe,  and  Sonale  da  camera 
in  1-3  or  more  parts, w.  instrs. ;  6-p.  Madrigals; 
Allemandes  f.  3-4  instrs.;  etc.;  also  a  work, 
Musico-pratico  ....  on  song-composition 
and  the  art  of  counterpoint. — See  Q.-Lex. 

Bononcl'ni,  Marco  Antonio,  brother  of 
G.  B.  B.;  b.  Modena,  1675  (?);  d.  there 
July  8, 1726.  A  dramatic  comp.  of  distinction; 
from  1721  he  was  maestro  to  the  Duke  of 
Modena.  Before  this,  he  travelled  in  Italy 
and  Germany,  bringing  out  a  number  of 
operas,  praised  by  Padre  Martini  for  their 
'lofty  style,'  and  thought  by  him  superior  to 
those  of  most  contemporaries. — Works:  19 
operas,  among  them  Camilla,  regina  de' 
Volsci  (Vienna,  1692);  Griselda  (1700?);  An- 
dromeda;  Arminio;  Sesostri;  II  Turno  Aricino 
(Florence,  1704);  Etearco  (Vienna,  1707); 
La  Regina  creduta  re  (Venice,  1707);  Tigrane, 
re  d  Armenia;  Cajo  Gracco  (Venice,  1710); 
AstiniaUe  (Venice,  1718);  and  an  oratorio, 
La  Decollazione  di  S.  Giovanni  Battista 
(Vienna,  1709).— See  Q.-Lex. 

Bontem'pi  (rede  An&ell'nl),  Giovanni 
Andrea,  b.  Perugia,  circa  1624;  d.  Bruso,  near 
Perugia,  June  1,  1705.  Maestro  at  Rome  and 
Venice,  later  in  Berlin  and  Dresden;  returned 


to  Italy  in  1694,  and  was  in  Paris  in  1697. — 
Works:  3  operas,  Paride  (1662),  Apollo  e 
Dafne  (1671),  Jupiter  ed  Io  (1673);  the  ora- 
torio Martirio  di  S.  Emiliano;  and  the  treatises 
Nova  quatuor  vocibus  componendi  methodus 
.  .  .  (1660),  Tract,  in  quo  demonstrantur  oc- 
culta* convenientiae  sonorum  systematis  partici- 
pate (1690),  and  an  Istoria  musica,  nella  quale 
si  ha  piena  cognizione  della  teoria  e  delta 
pralica  antica  della  musica  armonica  (1695). 
see  ^^.-L#ex. 

Bonvin  [bflhn-van'],  Ludwig,  b.  Siders, 
Switzerland,  Feb.  17, 1850.  His  musical  training 
in  early  youth  was  irregular;  as  a  musician 
he  is  chiefly  self-taught.  After  a  course  of 
medical  study  in  Vienna,  and  a  journey  to 
Italy,  he  entered  in  1874  the  Jesuit  novitiate 
in  Holland,  becoming  organist  and  choir- 
master, and  studying  harmony  and  counter- 
point; further  study  of  early  church-music 
and  of  Warner  scores  gave  him  insight  into 
the  mysteries  of  composition,  and  awakened 
his  talent  for  composing.  From  1887-1907 
Father  B.  was  director  of  chorus  and  orch.  at 
Canisius  College,  Buffalo,  N.  Y.  Since  then 
he  has  been  devoting  all  his  spare  moments 
to  composing  and  to  historico musical  studies; 
has  written  numerous  articles  with  the  object 
of  restoring  the  Gregorian  chant  to  its  original 
rhythm. — -His  publ.  works  include  6  masses 
(op.  6,  26,  49,  63,  83,  84),  and  much  other 
sacred  music  (Litanies,  Vespers,  Ave  Maria, 
Ecce  sacerdos,  Omne  die  die  Mariaet  anti- 
phones,  chants,  sacred  songs,  hymns,  etc.); 
Wittekind  (op.  28),  for  soli,  male  ch.  and  orch. 
(Gcr.  text);  Du  sonnige,  wonnigt  Welt  (op. 
20),  for  sop.  and  bar.  soli,  mixed  ch.  and 
orch.;  In  the  summer  night  (op.  39),  for  bar. 
solo,  ch.  and  orch.;  Morn  on  the  northern 
coast  (op.  50);  Bretagne  (op.  60),  for  mixed 
ch.,  bar.  and  orch.;  Drei  Toflbilder  (op.  12), 
a  Ballade  (op.  25),  a  Festzug  (op.  27),  Remi- 
niscences [symphony  in  G  m.]  (op.  67),  Two 
Symphonic  Movements  (op.  71)  for  full  orch.; 
Christmas  Night's  Dream  (op.  10),  for  string- 
orch.;  organ-pieces,  songs,  etc.  His  works 
have  reached  the  opus-number  108  (1916). 

Boom  [bohm],  Jan  E.  G.  van  (Senior),  b. 
Rotterdam,  April  17,  1783.  Flutist  and  com- 
poser for  flute;  lived  in  Utrecht. 

Boom,  Jan  (Johannes)  van,  son  of  pre- 
ceding; b.  Utrecht,  Oct.  15,  1807;  d.  Stock- 
holm, March  19,  1872.  Accomplished  pianist; 
on  a  concert-tour  through  Scandinavia  in 
1825  he  was  induced  to  settle  in  Stockholm, 
where  he  was  prof,  at  the  Royal  Academy 
1849-65. — Works:  Operas,  symphonies,  over- 
tures, string-quartets,  trios,  a  pf.-concerto, 
and  much  pf. -music  (studies,  duets,  etc.). 

Boosey,  Thomas,  founder  (1825)  of  the 
London  music-publishing  house  of  Boosey  & 


102 


BOOTT— BORDIER 


Co.;  until  1854  copyright  publishers  of  Italian 
operas;  now  of  cheap  editions  of  standard 
works  and  popular  English  music.  In  1868 
they  bought  the  factory  for  musical  instrs.  of 
Henry  Distin.  In  1874  both  the  publishing 
business  and  the  factory  were  combined 
under  the  firm  name  of  Boosey  &  Co. 

Boott,  Francis  (pen-name  'Telford'),  b. 
Boston,  Mass.,  June  24,   1813;  d.  there  in 
March,  1904.    A  Harvard  graduate  in  1831, 
and  a  devoted  amateur  of  music,  he  lived  for 
many  years  in   Florence,    Italy,   where  he 
studied  under  L.  Picchianti;  for  the  last  30 
years  he  resided  in  Cambridge.   He  was  quite 
a  fruitful  composer  in  the  lesser  forms:  Secu- 
lar and  sacred  songs,  anthems,  and  chorales; 
many  pieces  are  in  the  service-book  of  King's 
Chapel,  Boston.  An  Ave  Maria  and  a  Maria 
Mater,  with  the  songs  Here's  a  health  to  King 
Charles,   When  Sylvia  sings,  and  Lethe,  are 
widely    known.     Larger    works    are    Grand 
Mass;  Te  Deum;  Song  of  Zechariah,  for  soli, 
ch.  and  orch;  Miserere  (a  capp.);  and  string- 
quartets. — Mr.   B.   bequeathed  to  Harvard 
Univ.  the  sum  of  $10,000,  the  interest  to 
form  an  annual  prize  for  the  best  4-part 
vocal  composition  written  by  a  Harvard  man. 

Bopp,  Wilhelm,  b.  Mannheim,  Nov.  4, 
1863;  pupil  of  Jean  Becker  and  F.  Langer, 
later  of  Leipzig  Cons.  (Jadassohn,  Schra- 
dieck,  Herrmann),  and  of  Emil  Paur  at 
Mannheim.  After  a  5-years'  career  as  cond., 
he  became  a  teacher  at  the  Mannheim  Cons.; 
in  1900  founded  a  'Hochschule  fur  Musik' 
there;  in  1907  succeeded  von  Per^er  as  dir. 
of  the  Vienna  'Cons,  der  Musikfreunde,' 
transformed  on  Jan.  1, 1909,  into  a  State  inst. 

Borch,  Gaston  Louis  Christopher,  b. 

Guines,  France,  March  8,  1871.  Pupil  in 
comp.  of  Massenet;  'cello-pupil  of  Delsart 
(1891-3).  Cond.  Philh.  Soc.,  Christiania, 
Norway  (1896-8);  cond.  Central  Th.  there 
(1897);  cond.  'Musikfdrening,'  Bergen,  Nor- 
way (1898-9);  'cellist,  Thomas  Orch.  (1899- 
1900),  Pittsburgh  Orch.  (1903-6);  cond.  Lau- 
sanne Symphony  Orch.,  Switzerland  (1906). 
Tours  in  France,  Belgium,  Holland,  Germany 
as  visiting  cond.  (1894-6). — Works:  Concerto 
for  pf.  and  orch.  in  A  m.;  three  symph.  poems, 
Genoveva,  Quo  Vadis,  Frithjof;  a  symphony; 
Romania  and  Elegy  for  vln.  and  pf . ;  about  50 
pieces  for  pf.;  songs;  much  sacred  music;  has 
made  numerous  arrangements  for  orch.,  and 
arranged  some  50  standard  works  as  pf  .-trios. 
A  1-act  opera,  Silvio,  was  produced  m  Chris- 
tiania (1898). 

Bor'chers,  Gustav,  born  at  Woltwiesche 
(Brunswick),  Aug.  18,  1865;  d.  Leipzig,  Jan. 
19,  1913.  Pupil  of  Leipzig  Cons.  1887-9,  and 
till  1895  cond.  of  various  choral  societies; 
1896,  singing- teacher  at  the  Nikolai-Gymna- 
sium; 1901,  also  cantor  at  the  Peterskirche; 


founded,  in  1898,  a  seminary  for  singing- 
teachers,  employing  the  methods  of  Jaques- 
Dalcroze  ('rhythmical  gymnastics')  and  Eitz 
('Tonwort') ;  on  this  latter  and  its  author  he 
published  a  monograph  in  1908. 

Borde,  de  la.   See  Labordis. 

Bordes  [bdhrd],  Charles,  b.  Roche-Corbon, 
n.  Vouvray-sur-Loire,  May  12,  1863;  d.  Tou- 
lon, Nov.  8,  1909.  Pupil  of  Marmontel  (pf.) 
and  Cesar  Franck  (org.,  comp.)  1887- 
90;  from  1890-1905,  m.  de  chap,  at  St.-Ger- 
vais,  Paris.  The  performances  of  a  cappella 
music  which  he  gave  with  this  choir  imme- 
diately became  famous,  so  that  in  1892  the 
singers  were  organized  as  'Les  Chanteurs  de 
St.-Gervais';  the  next  year  B.  founded  and 
edited  the  'Anthologie  des  Maitres  religieux 
primitifs'  and  'Repertoire  moderne  de  musique 
vocale  et  d'orgue.'  Having  interested  Guil- 
mant  and  d'Indy  for  his  ideals,  he  founded, 
with  them,  the  'Schola  Cantorum*  in  1894, 
originally  for  the  purpose  of  training  singers 
in  the  Palest rina  style;  at  the  same  time  he 
founded  the  'Tribune  de  St.-Gervais'  as  the 
official  organ  of  the  Schola  (first  number  ap- 
peared January,  1895).  The  S.  C.  was  for- 
mally opened  in  1896;  before  long  its  scope 
was  enlarged,  and  to-day  it  ranks  among  the 
foremost  conservatories  of  the  world.  A 
nervous  breakdown,  the  result  of  overwork, 
compelled  B.  in  1905  to  leave  Paris  for  the 
south.  But  even  then  he  would  not  rest,  for 
in  the  same  year  he  founded  the  'Schola  de 
Montpellier';  he  died  suddenly  from  a  stroke 
of  apoplexy.  In  1889-90,  by  commission  of. 
the  government,  he  studied  Basque  folk- 
songs, of  which  he  collected  100  (published  in 
'Archives  de  la  tradition  Basque');  contrib. 
numerous  articles  to  'La  Grande  Encyclo- 
pedic,' 'Musica,'  'Le  Figaro,'  etc.— Composi- 
tions: Suite  basque  for  flute  with  string-quar- 
tet; Errege  Juan,  overture  to  a  Basque  drama; 
Danses  biarnaises  for  orch. ;  Rhapsodic  basque 
for  pf.  and  orch.;  Divertissement  for  trpt.  with 
orch.;  several  choruses  a  capp.  (2-7  voices); 
pieces  for  pf . ;  songs.  A  3-act  opera,  Les  trois 
Values,  he  left  almost  completed. — Cf.  O. 
Sere,  C.  B.t  in  Musiciens  francais  d'aujour- 
aVhui  (2nd  ed.  Paris,  1911). 

Bordese  [-da'ze],  Luigl,  b.  Naples,  1815; 
d.  Paris,  Feb.  17,  1886.  Pupil  of  Naples 
Cons.;  after  the  unsuccessful  production 
(Turin,  1834)  of  his  opera  Zelimo  e  Zoraide, 
he  went  to  Paris,  where,  finding  no  success 
as  a  dramatic  composer,  he  settled  as  a 
singing- teacher  and  composer.  Besides  8 
operas,  he  wrote  3  masses,  a  requiem,  motets, 
and  hundreds  of  sacred  and  secular  songs; 
also  two  Vocal  Methods,  and  many  vocalises, 
etc.,  which  are  famous. 

Bordier  [bdhr-d'ya'],  Jules,  b.  Angers,  Aug. 
23,  1846;  d.  Paris,  Jan.  29,  1896.     Distin- 


103 


BORDOGNI— BOROWSKI 


guished  comp.;  founded  concerts  of  the  'Asso- 
ciation Artistiquc  d' Anger.*'  in  1875;  went  to 
Paris  (1893)  as  partner  in  a  music-publishing 
house.  Early  champion  of  Wagner's  music  in 
French  provinces. — Works:  Several  symph. 
poems;  Meditation  on  Bach's  7th  prelude; 
Hungarian  Dance,  and  other  instr.  pieces,  in- 
cluding a  Danse  macabre  for  violin;  music  to 
A.  de  Vigny's  Chatter  ton;  2  operas,  Nadia 
(Paris),  and  Le  Fiance  de  la  Mer.  (Rouen); 
4-part  male  chorus  Patrie  (1893). 

Bordo'gni    [-ddhn'ye],    (Giulio)  Marco, 

distinguished  tenor  and  singing-teacher;  b. 
Gazzaniga,  n.  Bergamo,  1788;  d.  Paris,  July 
31,  1856.  A  pupil  of  S.  Mayr,  his  debut  (La 
Scala,  Milan,  1813)  asTancredi  was  brilliant. 
From  1819-33  he  was  engaged  at  the  Th.  dcs 
Italiens,  Paris;  after  this  he  devoted  himself 
to  teaching.  From  1820  (with  occasional  in- 
terruptions) he  was  prof,  at  the  Paris  Cons.; 
Sontag  was  one  of  nis  pupils.  His  36  Vo- 
calises, in  2  suites,  have  run  through  many 
editions;  he  also  published  several  other  sets. 

Bordo'ni,  Faustina.  See  Hasse,  Faus- 
tina. 

Bor'ghl,  Luigi,  skilful  violinist  and  com- 

Coscr,  was  a  puoil  of  Pugnani,  and  settled  in 
ondon  circa  1774.  He  was  1  eider  of  the  2d 
violins  at  the  Handel  Commemoration  in 
1784.  Published  a  great  variety  of  excellent 
instrl.  music,  chiefly  for  violin. — See  Q.-Lex. 

Bor'ghl-Mamo,  Adelaide,  celebrated  dra- 
matic  mezzo-soprano;  b.  Bologna,  Aug.  9, 
1829;  d.  there  Sept.  28,  1901.  Acting  on  tha 
Pasta's  advice,  she  trained  herself  for  ths 
stage;  debut,  in  1846,  in  II  Giuramento,  by 
Mercadantc,  at  Urbino,  where  she  was  eng. 
She  next  sang  in  Malta  and  various  Italian 
cities,  in  Vienna  and  Paris  (1854-6),  and 
1856-9  was  eng.  at  the  Grand  Opera.  In  1860 
she  appeared  with  great  success  in  London; 
then  returned  to  Italy,  and  retired  to  Flor- 
ence.— Her  daughter  Erminia,  endowed 
with  a  grand  soprano  voice,  made  her  debut 
at  Bologna  (1875)  as  Helen  of  Troy  and  Mar- 
garet in  Boito's  Mefistojelc;  has  sung  on 
important  Italian  stages;  also  at  the  Italian 
Opera,  Paris,  and  in  Madrid  and  Lisbon. 

Bo'ri,  Lucrezia,  lyric  soprano;  b.  Valen- 
cia, Dec.  24,  1888.  Studied  for  6  years  with 
Melchior  Vidal,  and  later  in  Milan  and  Rome. 
Debut  as  Carmen,  Rome,  Oct.  31,  1908;  sang 
in  Paris,  Milan,  Naples,  Buenos  Aires;  since 
1913  at  M.  O.  H.— Principal  roles:  Chief 
soprano  parts  in  Amore  dei  tre  Re,  Manon 
Lescaut  (Puccini),  VOracolo,  V Amore  medico, 
Konigskinder,  Der  Rosen kavalier. 

Born'schein,  Franz  Carl,  solo  violinist 
and  composer;  b.  Baltimore,  Feb.  10,  1879. 
Received  early  education  from  father;  studied 
at  Peabody  Cons,  from  1895-1902  (vln.  with 


Joan  C.  Van  Hulsteijn,  harm,  with  Phillip 
Kahmer  and  Otis  Bard  well  Boise).  Teacher 
of  vln.  and  dir.  junior  orch.,  Peabody  Cons.; 
dir.  of  orch.  of  Baltimore  Music  School  Settle- 
ment since  1913;  mus.  critic,  'Evening  Sun/ 
Baltimore  (1910-13);  on  the  staff  of  several 
mus.  publications;  has  written  many  educa- 
tional articles.  Works:  Ths  Djinns,  symph. 
ballad  for  bar.  and  orch.  (1913)  ;A  Wet  Sheet 
and  a  Flowing  Sea,  prize  madrigal;  Onowa, 
prize  cantata  Tor  sop.,  ch.  and  orch.  (1916); 
The  Phantom  Canos,  orch.  suite  (1916).  Li 
MS.  the  symoh.  poems  The  Sea-god1  s  Daugh- 
ter and  A  Hero's  Espousal;  a  string-quartet; 
a  string-quintet;  a  pf. -quintet;  a  sextet  for 
strings  and  flute. 

Bo'rodin  [-den],  Alexander  Porfirie- 
vitch,  b.  Petrograd,  Nov.  12,  1834;  d.  there 
Feb.  27,  1887.  Student  of  medicine  and 
chemistry;  army -surgeon;  prof,  at  the  Petro- 
grad medico-surg.  Institute;  Counselor  of 
State;  Knight;  president  of  the  mus.  Soc.  of 
Amateurs.  Intimate  with  Liszt  (in  Weimar), 
and  Balakircv,  at  whose  suggestion  he  studied 
music,  of  which  he  was  passionately  fond. 
He  became  a  foremost  exponent  of  the  neo- 
Russian  musical  cult. — Works:  A  4-act  ooera, 
Prince  Igor  (posthumously  finished  by  Rimjky- 
Korsakov  and  Glazunovl  (Kiev,  1891,  very 
successful;  N.  Y.,  J915);  3  symphonies  (Eb, 
D,  A  m.  [unfinished]);  symphonic  pom 
Dans  les  steppes  de  VAsie  Centrale,  scherzo  for 
orch.  (A);  2  string-ouartets;  suite  forpf.jpf.- 
pieces;  son^s;  etc.  A  string-trio  (dated  1860) 
and  a  pf. -quintet  wore  recently  discovered 
and  prod,  at  Moscow  in  1915. — Cf.  V.  Stas- 
sov,  A,  B.  (Petrograd,  1889  [in  Russian]; 
French  transl.  by  A.  Habits  [with  corre- 
spondence between  B.  and  Liszt],  Paris, 
1893;  Engl,  transl.  by  R.  Newmirch,  Lon- 
don, 1895,  as  B.  and  Liszt  [biogr.  and  letters]). 

Boro'ni  (or  Huron!),  Antonio,  b.  Rime, 
1738;  d.  there  1792.  A  pupil  of  Padre  Martini 
and  Girolamo  Abos,  he  prod,  many  operas 
at  Trcviso  (1),  Venice  (10,  1762-72),  Verona 
(1,  1770),  Prague  (2,  1765,  '67),  Stuttgart  (6, 
1773-8),  and  Rome  (1,  1778);  was  court 
Kapellm.  at  Stuitgart,  and  finally  m.  di 
capp.  at  St.  Peter's,  Rome. — See.  Q.-Lex. 

Borow'skl,  Felix,  editor,  composer;  b. 
Burton,  England,  March  10,  1872.  Studied 
with  his  father;  vln.  with  Jacques  Rosenthal 
and  Adolf  Pollitzer  (London),  and  theory  w. 
Chas.  W.  Pearce;  entered  Cone,  of  Cologne, 
1888,  studying  comp.  wit*  Gustay  Jensen, 
pf.  with  Ernst  Hauser  and  vln.  with  Georg 
Japha.  Taught  pf.  in  Aberdeen,  Scotland 
(1892);  devoted  himself  to  comp.  in  London 
(1894);  Grieg  advised  him  to  study  the  racial 
style.  Since  1897,  prof,  of  theory  and  comp. 
at  Chicago  Mus.  College;  also  taught  violin 
there;    Chicago   correspond jnt    for    'Musical 


104 


BORTKI EWICZ— BOSSI 


Courier*  (1905);  critic,  'Chicago  Even.  Post/ 
1906-9;  mus.  critic,  'Chicago  Herald/  since 
1909;  author  of  program-books  of  Chicago 
Symph.  Orch.  since  1908. — Works:  Eugene 
Onegin,  symph.  poem;  Concerto  in  D  m.  for 
pf.  and  orch.;  Marche  triomphale  for  orch.; 
Allegro  de  concert  in  D  for  org.  and  orch.; 
Valse  pathetique  for  orch.;  Petite  Suite  in  G 
for  small  orch.;  Crepuscule  and  Serenade,  2 
pieces  for  string-orch.  j  a  suite  for  org.  (E  m.) ; 
2  sonatas  for  org.  (Am.,  C);  Sonate  russe  for 
pf.;  a  string-quartet  in  Am.;  also  pf.-pieces, 
and  pieces  for  vln.  and  pf. 

BortTtiewicz  [-k'ya-vitch],  Sergei  Eduar- 
dovitch,  b.  Kharkov,  Feb.  28, 1877.  Pupil  of 
van  Ark  and  Liadov  at  the  Petrograd  Cons., 
1896-9;  in   1900   at   Leipzig   of    Reisenauer 
(pf.)    and    Jadassohn   and    Piutti    (comp.); 
debut  as  pianist  in  Munich,  February,  1902; 
concert-tours  of  Germany,  Austria,  Hungary, 
France  and  Russia;  since  1904  prof,  at  Klind- 
worth-Scharwenka  Cons,  in  Berlin;  a  very 
successful  teacher.    Has  written  a  number  of 
works  for  pf.:  Esquisses  de  Crimee,  op.  8; 
sonata  in  B,  op.  9;  Pensies  lyriques  (6  pieces), 
op.  11;  Souvenirs  oVenfance,  op.  14;  concerto 
in  B\>  for  pf.  and  orch.,  op.  16;  also  a  symph. 
poem,  Othello, 

Bortnian'sky,  Dimitri  Stepanovitch,  b. 

Gluchov,  Ukraine,  1752;  d.  Petrograd,  Oct. 
7,  1825.  Pupil  of  Galuppi  at  Petrograd,  and 
later  (1768),  at  Venice;  also  studied  in  Bo- 
logna, Rome,  and  Naples.  After  producing 
the  operas  Creonte  at  Venice  (1776),  and 
Quinto  Fabio  at  Modena  (1778),  he  returned 
(1779)  to  Petrograd,  and  was  app.  director  of 
the  Empress's  Church-Choir,  later  (1796) 
called  the  Imperial  Chapel  Choir,  which  he 
brought  to  a  high  state  of  efficiency  by  radical 
reforms,  and  for  which  he  wrote  a  3 -part 
Greek  mass;  35  4-part  sacred  concertos  and 
10  8-part  psalms;  10  concertos  for  double 
choir,  etc.  (works  edited  by  Tchaikovsky 
and  published  in  10  vols.). 

Borwick,  Leonard,  b.  Walthamstow,  Es- 
sex, England,  Feb.  26,  1868.  Eminent  con- 
cert-pianist, pupil  of  H.  R.  Bird,  then  (1884- 
90)  of  Frankfort  Cons.  (Clara  Schumann,  B. 
Scholtz,  Ivan  Knorr).  Debut  at  concert  of 
London  Philh.  Soc.,  May  8,  1890;  has  played 
with  marked  success  at  the  Popular  Concerts 
and  Crystal  Palace;  successful  tours  in  Ger- 
many (1895-6)  and  U.  S.  (1914). 

Boa,  Coenraad  van,  pianist  and  remark- 
able accompanist;  b.  Leyden,  Dec.  7,  1875. 
Pupil  of  J.  R6ntgen  at  the  Cons,  in  Amster- 
dam; always  showed  a  decided  preference  for 
ensemble  playing.  With  two  countrymen, 
J.  van  Veen  (vln.)  and  J.  van  Lier  ('cello),  he 
formed  a  trio  in  Berlin  in  1901  which  soon 
enjoyed  an  enviable  reputation.  His  masterly 
accompaniment    on    a    tour    with    Ludwig 


Wiillner  attracted  more  than  ordinary  atten- 
tion, and  made  him  one  of  the  most  sought 
accompanists  both  in  Europe  and  the  U.  S., 
where  he  has  been  heard  frequently. 

Boschot  [boh-shoh'],  Adolphe,  b.  Fonte- 
nay-sous-Bois,  near  Paris,  May  4, 1871.  Since 
1910,  musical  critic  of  'Echo  de  Paris';  con- 
tributor to  many  important  journals.  His 
greatest  work  is  the  exhaustive  biography  of 
Berlioz  in  3  vols.^  (See  Bibliography  under 
Berlioz.)  For  this  work  B.  received  a  prize 
from  the  Academy.  Wrote  also  Le  Faust  de 
Berlioz  (1910),  Carnet  d'art  (1911),  etc. 

Bo'se,  Fritz  von,  b.  Konigstein,  Oct.  16, 
1865.  Pupil  of  Jadassohn  (comp.)  and  Rei- 
necke  (pf.)  at  the  Leipzig  Cons,  from  1883-7; 
spent  winter  of  1887-8  with  Bulow  in  Ham- 
burg, studying  interpretation  and  repertoire; 
debut  as  pianist  in  1888  at  Leipzig;  taught 
pf.  at  Cons,  in  Karlsruhe,  1893-8;  since  then 
at  Leipzig  Cons.;  made  prof.,  1912;  for  many 
years  regular  accompanist  for  Alice  Barbi. 
B.  is  famous  as  a  performer  in  chamber- 
music.  Has  written  some  choruses  for  m?n's 
and  mixed  voices,  and  pf. -music  of  merit  (a 
suite,  sonatinas,  e'tudes,  etc.). 

Bo'sendorfer.  Firm  of  pf. -makers  at 
Vienna,  established  by  Ignaz  Bosendorfcr  (b. 
Vienna,  July  28,  1796;  d.  there  April  14, 
1859)  in  1828,  later  managed  by  his  son 
Ludwig  (b.  Vienna,  April  10,  1835).  Ls 
specialty  is  concert-grands. 

Bos'ai,  (Marco)  Enrico,  b.  Sal 6,  Brescia, 
Italy,  April  25,  1861;  son  and  pupil  of  thi 
organist  Pietro  B.,  of  Morbegno  [b.  1834;  d. 
Dec.  30,  1896].  He  studied  (1871-3)  in  the 
Liceo  Rossini,  Bologna,  and  1873-81  at  Milan 
under  Sangalli  (pfj,  Fumagalli  (org.),  Cam- 
panari  (vln.),  Boniforti  (cpt.),  and  ronchielli 
and  Dominlceti  (comp.).  From  1881-91,  m. 
di  capp.  and  org.  at  Como  cath.;  then,  until 

1895,  prof,  of  org.  and  harm,  in  the  R.  Cons. 
San  Pietro  a  Majella  at  Naples;  from  Jan.  1, 

1896,  to  1902,  Director  of,  and  prof,  of  ad- 
vanced comp.  and  org.  in,  the  Liceo  Benedetto 
Marcello,  Venice;  1902-12,  Director  of  the 
Liceo  Musicale  at  Bologna;  retired  in  1912, 
and  now  living  in  Como.  He  was  also  cond. 
of  the  'Benedetto  Marcello'  Soc.  of  Concerts 
in  Venice;  member  of  the  permanent  govt, 
commission  for  mus.  art;  Chevalier  of  the 
Italian  Crown,  and  Chevalier  of  the  order  of 
Isabella  la  Cat61ica  (Span.). —Works:  Pa- 
quita,  1-act  opera,  op.  10  (R.  Cons.,  Milan, 
1881);  II  Veggente,  1-act  opera  seria,  op.  69 
(Dal  Verme  Th.,  Milan,  1890);  VAngelo 
delta  notte,  4-act  melodrama,  op.  52  (Como); 
Mossa  d'Averno,  cantata  for  4  voices,  pf.  and 
harmonium,  op.  87;  Tola  pulchra,  for  mixed 
ch.  and  org.,  op.  96;  Marinaresca,  for  soli,  ch. 
and  orch.,  op.  108;  symph.  poem  //  Cieco 
(1897),  for  tenor  solo,  ch.  and  orch.,  op.  112; 

105 


BOTE— BOTTESINI 


Messa  (a  S.  Marco)  for  3  equal  voices  and 
organ,  op.  61;  Westminster  Abbey,  Inno  di 
Gloria,  for  ch;  and  org.,  op.  76  (perf.  twice 
by  Riedelverein,  Leipzig);  Requiem  Masses, 
op.  83,  90;  a  great  quantity  of  other  church- 
music  (e.  g.,  op.  12-48,  written  for  Como 
cathedral,  all  MS.);  overture  for  orch.,  op.  1; 
Impromptu  for  orch.,  op.  55;  organ-concerto, 
op.  100;  much  fine  organ-music  (op.  3,  over- 
ture; op.  49,  2  scherzi  and  an  impromptu;  op. 
53,  Inno  Trionfale;  op.  54,  Suite  Res  severa 
magnum  gaudium;  op.  59,  4  pieces;  op.  60, 
Sonata  1,  in  D  m.;  op.  62,  rede  a  Bach,  a 
fugue;  op.  64,  Fantasia;  op.  68,  Processional 
March;  op.  70,  6  pieces;  op.  71,  Sonata  No.  2; 
op.  72,  Marche  hkroique;  op.  74,  3  pieces;  op. 
78,  £tude  symphonique;  op.  92,  3  pieces;  op. 
94,  2  pieces;  op.  100,  concerto  in  A  m.  for 
organ  with  orch.;  op.  104,  5  pieces;  op.  113, 
5  pieces);  a  string-trio  in  D  m.,  op.  107,  and 
other  chamber- music  (f.  vln.  and  pf.,  'cello 
and  pf.,  etc.);  pf. -music  (15  opus-numbers); 
vocal  romanze,  etc.;  op.  120,  Canticum  canti- 
corum;  op.  123,  pf.-trio  in  D;  op.  125,  //  Para- 
diso  Perduto;  op.  126,  orchl.  suite;  op.  127, 
Intermezzi  Goldoniani,  for  string-orch.;  Con- 
certstiick  in  C  m.  for  org.  and  orch.;  Giovanna 
d'Arco  for  soli,  ch.  and  orch.  His  great 
Metodo  di  Studio  per  VOrgano  moderno,  written 
in  collaboration  with  G.  Tebaldini  (Milan, 
1893),  is  op.  105. 

Bo'te  &  Bock.  Berlin  firm  of  music- 
publishers,  established  1838  by  Eduard  Bote 
and  Gustav  Bock  (successors  of  Frohlich  & 
Westphal).  Present  head  is  Hugo  Bock  (b. 
Berlin,  July  25,  1848). 

Bd'tel,  Heinrich,  tenor;  b.  Hamburg,  May 
6,  1858;  'discpverccT  by  Pollini  (he  was  a 
cab-driver),  debut  1883  as  Lyonel  in  Martha; 
since  then  lyric  ten.  in  Hamburg  City  Theatre. 

Botgor'schek,  Franz,  b.  Vienna,  May  23, 
1812;  d.  The  Hague,  May,  1882,  as  teacher 
in  the  Cons.  Flutist,  pupil  of  Vienna  Cons. 
Published  flute-music. 

Bot'stiber,  Hugo,  b.  Vienna,  April  21, 
1875;  pupil  of  R.  Fuchs  in  the  Cons.,  later 
(private)  of  v.  Zemlinsky,  and  of  H.  Rietsch 
and  G.  Adler  at  the  Univ.,  where  he  took  the 
degrees  of  Dr.  jur.  et  phil.  with  a  dissertation 
on  Johann  Pachelbel;  1896,  asst.  at  library  of 
Cons.;  1900,  secretary  of  the  'Konzertverein'; 
1905,  sec.  of  the  'K.  K.  Akademie  der  Ton- 
kunst';  now  (1916)  general  sec.  of  the  'Kon- 
zerthaus-Gcsellschaft' ;  Knight  of  the  order 
of  Franz  Josef— Edited  1904-11  the  'Musik- 
buch  aus  Osterreich,'  also  organ-comps.  by 
Pachelbel  and  pf.-works  of  the  Vienna  mas- 
ters for  the  'Den km.  d.  Tonkunst  in  Oster- 
reich'; wrote  Jos.  Haydn  uni  das  Haus  Ar- 
taria  (1908);  Geschichte  der  Ouverture  (1913); 
and  is  now  completing  Pohl's  biography  of 
Haydn. 


Bott,  Jean  Joseph,  eminent  violinist;  b. 
Kassel,  March  9,  1826;  d.  New  York,  April 
30,  1895.  His  father,  the  court  musician  A. 
Bott,  was  his  first  teacher;  M.  Hauptmann 
and  L.  Spohr  completed  his  training.  Winner 
of  the  Mozart  scholarship  (1841),  solo  violin- 
ist in  Electoral  orch.  (1846),  2d  Kapellm. 
(1852),  court  Kapellm.  at  Meiningen  (1857) 
and  Hanover  (1865),  pensioned  1878.  Taught 
in  Magdeburg  and  Hamburg,  and  came  to 
New  York  in  1885. — Works:  2  operas,  Der 
Unbekannte  (Kassel,  1854),  and  Aktda,  das 
Mddchen  von  Korinlh  (Berlin,  1862);  sym- 
phonies, overtures,  vln.-concertos,  solos  for 
vln.  with  pf.,  pf. -music,  songs. 

Bot'ta,  Luca,  dramatic  tenor;  b.  Amain, 
Italy,  April  16,  1882.  Pupil  of  G.  Vergine; 
d6but  in  1911  at  Naples  as  Turiddu  in 
Cavalleria  Rusticana;  has  sung  in  Malta, 
Turin,  Mantua,  Verona,  Barcelona,  Buenos 
Aires,  Milan;  1915  at  M.  O.  H. — Principal 
roles:  Chief  tenor  parts  in  La  Gioconda,  Rigo- 
letto,  La  Traviata,  Pagliacci,  •  Tosca,  La  Bo- 
htme,  Madama  Butterfly,  L'Amore  dei  tre  R% 
L'Oracolo,  Ero  e  Leandro  (Mancinelli),  Fe- 
dora, Iris,  Loreley  ( Ca talani ), ,  Andrea  Chenier, 
Isabeau  (Mascagni),  Adriana  Lecouvreur 
(Cilea),  Oberon,  etc. 

Bottle  de  Toulmon,  Auguste,  b.  Paris, 
May  15,  1797;  d.  there  March  22,  1850. 
A  lawyer  by  profession,  he  turned  his 
attention  to  music,  becoming  a  good  amateur 
'cellist;  he  was  librarian  (gratis)  of  the  Con*. 
1831-48,  and  wrote:  De  la  Chanson  en  France 
au  moyen  dge  (1836);  Notice  biographique  sur 
Us  travaux  de  Guido  d'Arezzo  (1837);  Des 
instrs.  de  musique  en  usage  au  moyen  dge 
(1838;  2ded.  1844);  Instructions  sur  la  mu- 
sique des  Francais  au  moyen  dge  (1839); 
Notice  des  tnanuscrits  autographes  de  Cheru- 
bini  (1843);  all  publ.  in  the  'Annuaire  His- 
torique,'  and  separately. — Cf.  Vincent,  Notice 
sur  la  vie  et  Us  travaux  de  B.  de  T.  (1851). 

Bottesi'nl,  Giovanni,  double-bass  virtu- 
oso and  composer;  b.  Crema,  Lombardy,  Dec. 
24,  1821;  d.  Parma,  July  7,  1889.  Studied  at 
Milan  Cons.  1835-9  under  Rossi  (double- 
bass),  and  Basili,  Vaccai,  Piantanida,  and 
Ray.  His  first  concert  at  Crema,  1840,  was 
eminently  successful;  until  1846,  he  made 
tours  in  Italy,  then  went  to  Havana,  visited 
.  the  United  States  (New  York,  1848),  England 
(London,  1849),  etc.,  and  was  from  1855^-7 
conductor  at  the  Th.  des  Italiens,  Paris. 
Thence  made  concert-tours  throughout  Eu- 
rope, became  m.  di  capp.  at  Palermo  (Bellini 
Th.)  in  1861,  at  Barcelona  in  1863;  founded 
the  'Society  del  Quartetto'  at  Florence,  cond. 
the  opera  at  Cairo,  Egypt,  and  at  the  Ly- 
ceum, London  (1871),  and  became  dir.  of 
Parma  Cons. — Operas:  Crist jforo  Colombo 
(Havana,  1847),  VAssedio  di  Firenze  (Paris, 


106 


BOTTRIGARI— BOVY 


1856),  II  Diavolo  delta  notte  (Milan,  1859), 
Marion  Delorme  (Palermo,  1862),  Vinciguerra 
(Paris,  1870),  Ali  Baba  (London,  1871),  Ero 
t  Leandro  (Turin,  1879),  La  Reginadel  Nepal 
(ib.,  1880);  the  oratorio  The  Garden  of  Olwet 
(Norwich  Festival,  1887);  symphonies,  over- 
tures, quartets;  unpublished  pieces  for 
double-bass;  songs. 

Bottriga'ri,  Ercole,  b.  Bologna,  August, 
1531;  d.  S.  Alberto,  Sept.  30,  1612.  A  man 
of  profound  learning,  he  wrote  //  Patrino, 
ovvero  de*  tetracordi  armonici  di  Aristosseno 
(Bologna,  1593);  //  Desiderio,  ovvero  de*  con- 
certi  di  vart  stromenti  musicali,  dialogo  di 
musica  (1594,  under  the  assumed  name 
'Alemanno  Benelli') ;  II  M clone,  discorso  ormo- 
nico  (Ferrara,  1602).  [Patrizio,  Desiderio  and 
Melone  were  names  of  friends.]  He  left  a 
translation  of  Boetius,  and  other  works  in 
MS.— See  Q.-Lex. 

Boucher  [boo-shal,  Alexandre-Jean,  b. 

Paris,  Apr.  11,  1778;  d.  there  Dec.  29,  1861. 
Remarkable  and  original  violin-virtuoso, 
self-styled  T Alexandre  des  violons.'  Played 
at  the  Concerts  Spirit uels  when  but  six; 
1787-1805,  soloist  to  Charles  IV  of  Spain. 
Travelled  in  Holland,  Germany,  England, 
etc.  Wrote  2  vln.-concertos. — Cf.  Boucher, 
son  temps,  in  'fitudes  d'histoire,  etc.',  by 
G.  Vallat  (1890). 

Bouhy  [boo-e'J,  Jacques-Joseph-Andre1, 

celebrated  baritone  and  singing-master;  b. 
Pepinster,  Belgium,  June  18,  1848.  St.  at 
the  Cons,  in  Liege,  and  later  at  the  Cons, 
in  Paris;  debut  as  Mefjhistopheles  in  Faust 
at  Grand  Opera,  Paris,  in  1871  with  unusual 
success,  so  that  Massenet  chose  him  to 
create  the  title-r61c  in  his  Don  Cesar  de 
Baton  (Nov.  30,  1872);  also  created  Escamillo 
in  Carmen  (Mar.  3,  1875);  sang  at  Cov. 
Garden  in  1882;  from  1885-9  in  N.  Y.  as 
dir.  of  the  N.  Y.  Cons.;  then  returned  to 
Paris,  sang  again  at  the  Grand  Opera,  and 
created  the  role  of  the  High  Priest  in  Samson 
et  Dalila  (Nov.  23,  1892).  After  another 
stay  in  the  U.  S.  (1904-7)  he  settled  "in 
Paris  as  a  teacher.  Many  of  his  pupils 
(Clara  Butt,  Witherspoon,  Rains,  etc.)  have 
become  famous. 

Bouichere  [bw6-shar'l,  femile,  b.  1860(?). 
d.  Paris,  Sept.  4,  1895.  Brilliant  pupil  of 
Gust.  Lefevre's  Acad.;  early  known  by 
important  sacred  comps.  (masses,  motets); 
also  chamber- music.  In  1892  he  est.  a 
successful  vocal  academy.  He  was  musical 
director  of  La  Trinitc. 

Bourgault-Ducoudray,  Lou  is- Albert,  b. 
Nantes,  Feb.  2,  1840;  d.  Paris,  July  4,  1910. 
Pupil  of  Ambroise  Thomas  at  Paris  Cons., 
taking  Grand  prix  de  Rome  in  1865  with  a 
cantata,  Louise  de  Mtzieres.  He  founded  an 
amateur  choral  society  in  Paris  (1868);  spent 


some  time  in  researches  in  Greece,  after 
which  he  wrote  Souvenirs  aVune  mission 
musicale  en  Grece,  30  Melodies  populaires  de 
Grlce  et  d' Orient,  and  £tude$  sur  la  musique 
ecclesiasttque  grecque.  App.  professor  of  mus. 
hist,  at  Paris  Cons.  (1878).  He  composed 
4  operas:  Thamam  (Paris,  1891),  Michel  Co- 
lomb  and  Bretagne  (not  perf.),  Myrdhin 
(posth.,  Nantes,  1912);  for  orch.,  a  fantaisie 
in  C  m.,  a  Gavotte,  a  Marche  athenienne, 
VEnterrement  d'Ophelte,  and  a  Rhapsodie  cam- 
bodgienne;  a  symphonie  for  female  chorus  and 
soli.  La  conjuration  desfteurs;  numerous  songs 
with  pf.  —  Also  publ.  30  Melodies  popu- 
lates de  la  Basse-Bretagne,  with  French 
translations  (1885). —  Cf.  M.  Emmanuel, 
Sloge  funebre  de  L.-A.  B.-D.  (Paris,  1911; 
with  complete  catalogue  of  works). 

Bourgeois  [boor-zhwahl,  Loys  [Louis],  b. 

Paris,  circa  1510;  d.  (?);  a  follower  of  Calvin, 
with  whom  he  lived  1545-57  at  Geneva.  He 
is  renowned  as  one  of  the  first  to  harmonize 
the  melodies  to  Marot's  French  version  of 
the  Psalms,  collections  in  4-6  parts  having 
been  publ.  by  him  at  Lyons  (1547);  some  of 
these  melodies  are  his  own.  His  treatise, 
Le  droict  chemin  de  musique,  etc.  (Geneva, 
1550),  proposed  a  reform  in  the  nomen- 
clature of  the  tones  ace.  to  the  solmisation- 
syllables,  which  was  generally  adopted  in 
France.— Cf.  Douen,  Clement  Marot  et  le 
Psautier  Huguenot  (2  vols.;  Paris,  1878-79). 

Bourses  [boorzh'],  Jean  -  Maurice,  b. 
Bordeaux,  Dec.  2,  1812;  d.  Paris,  March, 
1881.  Composer  (pupil  of  Barbcreau)  and 
mus.  critic,  co-editor  of  the  'Revue  et  Gazette 
musicale/ — Works:  An  opera,  Sultana  (Paris, 
Op.-Com.,  1846);  a  Stabat  Mater;  2  pf.-trios, 

2  pf. -sonatas,  many  solo  pf.-pes.,  vocal 
romances,  etc. 

Bouaquet  [boos-ka'J,  Georges,  b.  Per- 
pignan,  March  12,  1818;  d.  St.-Cloud,  June 
15,  1854.  St.  in  Paris  Cons.,  taking  Grand 
prix  de  Rome  in  1838;  was  chef  d'orch.  at 
the  Opera  (1847),  and  (1849-51)  at  the  Th. 
Italien,  and  critic  for  'Le  Commerce,'  TIllus- 
t ration,'  and  the  'Gazette  musicale.' — Works: 

3  operas,  VHdtesse  de  Lyon  (Cons.,  1844), 
Le  Mousauetaire  (Op.-Com.,  1844),  and 
Tabarin  (Th.-Lyrique,  1852);  2  masses,  a 
cantata,  a  Miserere,  chamber- music,  etc. 

Bovery  [bdh-vre'],  Jules  (recte  Bovy, 
Antoine-Nicolas- Joseph),  b.  Liege,  Oct. 
21,  1808;  d.  Paris,  July  17,  1868.  Self-taught 
violinist  and  composer;  conducted  theatre- 
orchestras  at  Lille,  Douai,  Lyons,  Amster- 
dam, Antwerp,  Rouen,  Ghent  (1845),  and 
Paris  (Th.  Cluny).  Wrote  about  a  dozen 
operas,  operettas,  ballads,  etc. 

Bovy,  Charles-Samuel  (known  under  the 
nom  de  plume  of  Lysberg),  pianist  and  salon- 
composer;  b.  Lysberg,  near  Geneva,  March  1, 


107 


I 


BOWEN— BOYLE 


1821;  d.  Geneva,  Feb.  25,  1873.  Educated 
in  Geneva  and  Paris  (Chopin,  pf.,  and 
Delaire,  harm.);  teacher  of  pf.  at  Geneva 
Cons. — Works:  The.  1-act  comic  opera  La 
Fille  du  carillonneur  (Geneva,  1854);  and, 
f.  piano,  a  romantic  sonata,  V Absence,  much 
brilliant  salon- music  {La  Napolitaine,  op.  26; 
Deux  nocturnes,  op.  29;  Mcnuet,  op.  60;  Le 
Chant  durouet,  Idylle,  op.  64;  Sur  londe,  op. 
94;  etc.),  paraphrases  of  opera-themes,  etc. 

Bowen,  York,  b.  Crouch  Hill,  London, 
Feb.  22,  1884.  St.  pf.  for  two  years  with 
A.  Izard  at  the  Blackheath  Cons.;  then  won 
successively  the  firard  and  Sterndale  Bennett 
scholarships  at  the  R.  A.  M.,  where  he  st. 
1900-5,  chiefly  with  T.  Matthay  (pf.)  and 
F.  Corder  (comp.);  since  1905  teacher  of  pf. 
there.  Has  written  3  concertos  for  pf.  and 
orch.;  a  concerto  for  via.  and  orch. ;  Miniature 
Suite  for  orch.;  Second  Suite;  a  sonata  for 
via.  and  pf.;  several  smaller  pes.  for  via. 
and  pf. 

Bowman,  Edward  Morris  [F.   C.   M., 

A.  C.  O.,  London],  b.   Barnard,  Vermont, 


July  18,  1848;  d.  N.  Y.,  Aug.  27,  1913. 
Pupil  of  William  Mason  (pf.)  and  J.  P. 
Morgan    (org.  and   theory)   at   New   York, 


1866-7;  from  1867-70  was  organist  in  St. 
Louis,  Mo.,  of  the  Union  Meth.  Ch.,  then 
for  2  years  of  the  Second  Presb.  Ch. ;  studied 
in  Berlin,  1872-74,  with  Fr.  Bendel  (pf.),  Ed. 
Rohde  and  Aug.  Haupt  (org.),  and  Weitz- 
mann  (theory,  comp.  and  orchestration); 
spent  summers  of  1873-4  at  Paris  as  Ed. 
Batiste's  pupil  in  organ-playing,  and  another 
year  in  Berlin.  In  1874  he  resumed  his  last 
position  in  St.  Louis;  1877-87,  music-director 
and  organist  of  the  Second  Baptist  Ch.  in  that 
city,  with  an  interval  of  European  study 
under  Bridge,  Macfarren,  Turpin,  and 
Guilmant  in  1881,  during  which  B.  passed 
the  examination  of  the  London  Royal  Coll. 
of  Organists,  being  the  first  American  to  do 
so.  In  1883,  president  of  the  Music  Teachers' 
Nat.  Assoc,  (reelected  1884,  '93,  '94  and  1905) ; 
in  1884,  with  15  others,  he  founded  the 
Amer.  Coll.  of  Musicians;  was  its  first 
president,  and  served  8  terms;  1887-94, 
organist  and  dir.  of  the  Peddie  Memorial 
Baptist  Ch.,  Newark,  N.  J.;  1891-95,  Ritter's 
successor  as  prof,  and  director  of  the  dept. 
of  music  at  Vassar  College.  In  1895  he 
organized  the  fine  'Temple  Choir,'  Brooklyn 
(200  voices,  with  orch.  of  40), 'which  he  con- 
ducted till  1906.  He  was  then  called  to 
organize  and  conduct  a  similar  choir  for 
Calvary  Baptist  Ch.,  New  York  (Manhattan). 
One  of  the  foremost  organists,  pianists  and 
theorists  in  the  United  States,  he  was  a  very 
successful  teacher.  Publ.  Bowman's-Weitz- 
mann's  Manual  of  Musical  Theory  (1877; 
an  Engl,  compilation,  from  oral  communi- 


108 


cations,  of  W.'s  principles  and  rules  of  har- 
mony; approved  by  W.,  and  later  translated 
into  German);  and  other  works. 

Boyce,  William,  organist  and  composer; 
b.  London,  Feb.  7,  1710;  d.  Kensington,  Feb. 
7,  1779.  Chorister  in  St.  Paul's  under  Ch. 
King;  articled  pupil  to  Maurice  Greene,  org. 
there,  and  studied  later  with  Pepusch.  Be- 
came (1734)  org.  at  Oxford  Chapel,  and  in 
1736  at  St.  Michael's,  Cornhill;  also  composer 
to  the  Chapel  Royal  and  the  King;  conductor 
of  the  festivals  of  the  Three  Choirs  (Glouces- 
ter, Worcester,  Hereford)  in  1737;  org.  of 
Church  of  Allhallows  in  1749;  Master  of  the 
Royal  Band,  1775;  and  associate  organist  to 
the  Chapel  Royal,  1758,  then  resigning  his 
position  at  St.  Michael's  and  Allhallows  to 
devote  himself  to  issuing  Greene's  collection 
of  Cathedral  Music  (1760-78)  in  3  vols., 
comprising  morning  and  evening  services,  the 
anthems,  and  settings  of  the  Sanctus,  by 
Aldrich,  Batten,  Bevin,  Blow,  Bull.  Byrd, 
Child,  Jer.  Clarke,  Creyehton,  Croft,  Far- 
rant,  Gibbons,  Goldwin,  Henry  VIII,  Hum- 
phrey, Lawes,  Locke,  Morley,  Purccll,  Rog- 
ers, Tallis,  Turner,  Tye,  Weldon,  and  Wise. — 
Compositions:  Lyra  Brilannica  (several  books 
of  songs,  cantatas,  and  duets);  15  Anthems, 
Te  Deum  and  Jubilate  (1780);  12  Anthems 
and  a  Service  (1790);  an  oratorio,  Noah; 
masque,  Peleus  and  Thetis;  a  masque  for 
The  Tempest;  dirges  for  Cymbeline  and  Romeo 
and  Juliet;  several  odes,  symphonies,  a  vln.- 
concerto,  12  vln. -sonatas,  etc. — See  Q.-Lex. 

Boyer,  (Louis-Joseph-Victor-)  Georges, 

b.  Paris,  July  21,  1850;  won  the  Prix 
Rossini,  over  169  competitors,  with  the  li- 
bretto of  Herode  (set  to  music  by  Oiaum?t; 
Bordeaux,  1892).  Also  wrote  libretti  for  Le 
Portrait  de  Manon  (Massenet),  Mirka,  I'en- 
chanteresse,  Dolores,  and  several  other  lyric 
pieces.  Writer  for  the  'Figaro/  Tfivene- 
ment,'  and  the  'Petit  Journal.' 

Boyle,  George  F.,  pianist  and  composer; 
b.  Sydney,  N.  S.  W.,  June  29,  1886.  Pupil 
of  his  father  and  mother,  both  well-trained 
musicians;  debut  at  Sydney  at  the  age  of  7; 
studied  further  with  his  mother  till  14,  when 
he  made  a  concert-tour  of  the  chief  Austra- 
lian towns.  In  1901  a  course  of  study  with 
Sydney  Moss,  Australia's  foremost  piano- 
pedagogue,  was  cut  short  after  9  months  by 
the  teacher's  decease.  At  16  B.  toured  Aus- 
tralia and  New  Zealand  with  Mark  and 
Boris  Hambourg;  at  19  he  became  a  pupil  of 
Busoni  in  Berlin.  Toured  Holland  with 
Emma  Nevada;  lived  two  years  in  London, 
where  (April  23,  1908)  he  married  Elise  van 
den  Heuvel,  a  noted  Dutch  Lieder-singer.  He 
has  given  recitals  in  the  principal  cities  of 
England,  Germany,  and  Holland.  Came  to 
America  in  1910  to  take  post  of  prof,  of  pf. 


BRADBURY— BRAHMS 


at  the  Peabody  Conservatory,  Baltimore. — 
His  comps.  include  2  cantatas  for  soli,  chorus 
and  orch.,  The  Pied  Piper  of  Hamelin  (Brown- 
ing), and  Don  Ramiro  (Heine);  Symphonic 
Fantasie,  Slumber  Song  and  Aubade  f.  orch.; 
a  concerto  in  D  m.  for  pf.  w.  orchestra; 
a  sonata  for  pf.  in  B;  2  trios  for  pf.,  vln.,  and 
'cello;  a  sonata  for  pf.  and  'cello;  several 
pieces  for  'cello  with  pf.,  and  violin  with  pf.; 
about  100  pf. -pieces;  about  50  songs. 

Bradbury,  William  Batchelder,  b.  York, 
Me.,  Oct.  6,  1816;  d.  Montclair,  N.  J..  Tan.  7, 
1868.  Studied  under  Sumner  Hill  and  Lowell 
Mason;  1847-9  at  Leipzig  under  Hauptmann, 
Moscheles,  and  Boh  me.  Till  1854  he  taught, 
wrote,  and  conducted  mus.  conventions;  1854— 
67,  was  in  business  as  a  piano-maker.  Edited 
more  than  50  collections  of  music,  some  of 
which  had  an  immense  sale  (e.  g.,  Fresh 
Laurels,  1867,  1,200,000  copies). — Composed 
2  cantatas,  Daniel  (with  G.  F.  Root,  1853), 
and  Esther  (1856). 

Brad'sk?,  (Wenzel)  Theodor,  b.  Rakov- 
nik,  Bohemia,  Jan.  17,  1833;  d.  there  Aug. 
10,  1881.  Taught  by  Caboun  and  Pischek 
at  Prague;  joined  the  cathedral-choir  at  Ber- 
lin, where  he  gave  singing-lessons  and  com- 
?osed.  Prince  George  of  Prussia,  whose  opera 
olanlhe  'he  set  to  music  in  1872,  app.  him 
his  court  composer  in  1874. — Operas:  Der 
Heiratszwang  (MS.,  1859);  Roswitha  (Dessau, 
1860);  Die  Braut  des  Waffenschmieds  (MS., 
1861);  Das  Krokodil  (MS.,  1862);  Jarmila 
(Prague,  1879) ;  Der  Rattenfanger  von  Hameln 
(Berlin,  1881);  many  popular  part-songs  and 
songs. 

Bra'ga,  Gaetano,  b.  Giulianova,  Abruzzi, 
June  9,  1829;  d.  Milan,  Nov.  21,  1907. 
Eminent  'cellist,  pupil  of  C.  Gaetano  at 
Naples  Cons.  (1841-52).  A  great  traveller, 
he  lived  at  Florence,  Vienna,  Paris,  and  Lon- 
don (between  which  last  two  cities  he  lat- 
terly divided  his  time),  besides  making  con- 
cert-tours of  Europe. — Works:  Several  operas, 
of  which  La  Reginella  (Lecco,  1871)  was  the 
most  successful;  vocal  chamber-music;  pieces 
for  'cello;  and  a  Metodo  di  Violoncello, 

Brah-Muller  (real  name  Miiller),  Karl 
Friedrich  Gustav,  b.  Kritschen,  Silesia, 
Oct.  7,  1839;  d.  Berlin,  Nov.  1, 1878.  Teacher 
at  Pleschen,  then  at  Berlin,  where  he  studied 
under  Geyer  and  Wiierst;  from  1867,  teacher 
at  Wandelt's  Inst.,  Berlin. — Works:  'Sing- 
spiel'  Ein  Matrose  von  der  Nymphe  (Berlin, 
1864);  operetta  Deutschland  im  Urwald;  Te 
Deum  for  ch.  and  orch.;  vln.-quartets;  organ- 
and  pf.-music,  songs,  etc. 

Braham  (recie  Abraham),  John,  re- 
nowned tenor;  b.  London,  1774;  d.  there  Feb. 
17,  1856.  Pupil  of  Leoni  (London),  Rauzzini 
(Bath),  and  I  sola  (Genoa).  Debut  at  Covent 
Garden  April  21,  1787;  appeared  as  tenor  at 


Drury  Lane  in  1796  (opera  Mahmoud),  and 
was  engaged  for  the  Italian  Opera.  After 
study  in  Italy,  and  singing  in  several  cities 
there,  he  reappeared  at  Covent  Garden  in 
1801;  endowed  with  a  powerful  voice  of 
nearly  3-octave  compass,  his  career  was  now 
an  unbroken  series  of  triumphs.  He  created 
the  role  of  Huon  in  Weber's  Oberon  (London, 
1826).  As  a  ballad-writer  ke  was  very  popu- 
lar; also  wrote  much  of  the  music  for  the  oper- 
atic rdles  which  he  assumed,  and  the  incidental 
music  to  12  or  more  dramas. — See  Q.-Lex. 

Brahms,  Johannes,  one  of  the  greatest 
masters,  was  born  in  Hamburg,  May  7, 
1833;  he  died  in  Vienna,  Apr.  3,  1897.  His 
father,  a  double-bass  player  in  the  Hamburg 
City  Theatre,  was  his  first  teacher;  but  his 
chief  instructor  was  Marxsen  of  Altona. 
At  14  he  made  his  pianistic  debut  at  Ham- 
burg, playing  variations  of  his  own  on  a 
folk-song.  In  1853  he  made  a  concert-tour 
with  Remenyi.  At  Gdttingen  he  was  heard 
by  Joachim,  who  sent  him  to  Schumann. 
On  him  B.'s  talent  made  so  profound  an 
impression  that  he  published  an  enthusiastic 
article,  'Neue  Bahnen'  [New  Paths],  in  the 
'Neue  Zeitschrift  fur  Musik,'  hailing  B.  as 
the  coming  hero  among  composers.  How- 
ever, a  number  of  compositions,  among  them 
the  three  pf. -sonatas  and  three  books  of 
songs,  published  at  Schumann's  instigation, 
failed  of  popular  appreciation.  B.  now 
served  for  a  time  as  conductor  of  the  Prince 
of  Lippe-Det mold's  orchestra;  the  years 
1858-62  he  spent  in  diligent  study  at  Ham- 
burg.— Although  B.,  from  the  outset,  con- 
fronted the  public  (to  employ  Schumann's 
dictum)  'fully  equipped,  as  Minerva  sprang 
from  the  brain  of  Jupiter,'  his  earlier  com- 
positions show  a  preponderance  of  technical 
learning.  But  in  the  Serenades  for  orchestra 
(1860-1)  he  already  relegates  theoretical 
science  to  its  proper  position  as  a  means  to 
an  end.  In  1862  he  went  to  Vienna,  and 
acted  as  conductor  of  the  'Singakademie'  in 
1865-4;  from  1864-9  he  lived  in  various 
towns  (Hamburg,  Zurich,  Baden-Baden,  etc.), 
and  also  made  concert-tours,  rewarded  by 
ever-growing  artistic  and  pecuniary  success, 
with  his  friend  Stockhausen;  in  1869  he 
returned  to  Vienna.  From  1871—4  he  con- 
ducted the  grand  orchestral  concerts  of  the 
'Gesellschaft  der  Musikfreunde';  when  Her- 
beck  assumed  this  function,  B.  ajpin  left 
Vienna,  and  lived  for  a  time  near  Heidelberg, 
but  came  back  in  1878,  and  thenceforward 
made  Vienna  his  home.  In  1877  Cambridge 
University  tendered  him  the  degree  of  Mus. 
Doc.;  but  he  ignored  the  offer,  accepting 
however,  the  degree  of  Dr.  phil.  from  Breslau 
in  1881,  expressing  his  acknowledgment  of 
the  honor  in  the  Akademische  Festouverture. 
In    1886  he  was  created  a  knight  of  the 


109 


BRAHMS 


Prussian  'Ordre  pour  le  nitrite, '  with  voting 
privilege,  and  elected  a  member  of  the 
Berlin  Acad,  of  Arts.  In  1889  he  was  pre- 
sented with  the  freedom  of  his  native  city. 
.  His  compositions  during  the  first  few  years 
in  Vienna  were  chiefly  in  the  genre  of  chamber- 
music,  which  no  other  latter-day  composer 
has  so  enriched;  the  string-sextet,  piano- 
quintet,  and  the  first  three  piano-quartets, 
were  written  at  this  time.  He  also  com- 
posed several  sacred  works,  among  them 
Ein  deutsches  Requiem,  op.  45,  the  first  3 
choruses  of  which  were  given  in  Vienna  in 
1867,  and  the  entire  work  produced  in  the 
Bremen  cathedral  in  April,  1868.  He  left 
his  mark  on  every  branch  of  composition 
except  opera;  he  frankly  admitted  that  he 
'knew  nothing  about  the  theatre.'  Never- 
theless, the  idea  of  writing  an  opera  was  not 
wholly  strange  to  his  mind  (cf.  Widmann, 
'J.  B.  in  Erinnerungen').  R.  was  put  forward 
by  Hanslick,  and  other  critics  and  musicians 
opposed  to  Wagnerian  tendencies,  as  the 
modern  champion  of  what  they  term  'absolute 
music'  B.  himself,  however,  was  not  hostile 
to  Wagner;  he  was  a  close  student  of  Wagner's 
scores,  and  highly  valued  several  Wagner  auto- 
graphs in  his  possession;  he  even  (on  Hans- 
lick's  authority)  defended  Wagner  against 
hostile  criticism.  Though  a  conservator  of 
established  forms,  B.  was  a  thoroughly  mod- 
ern musician — a  master,  not  a  slave,  of  form, 
who  did  not  hesitate  to  deviate  from  conven- 
tional lines  when  it  suited  his  artistic  purpose. 
Since  Robert  Schumann  penned  his  fervent 
greeting  to  the  twenty-year-old  Brahms,  the 
musical  world  had  naturally  watched  the 
growth  of  the  composer  with  the  liveliest 
interest  and,  likewise,  with  the  keenest 
scrutiny.  The  very  manner  of  his  introduc- 
tion to  the  public  was  like  a  challenge  calcu- 
lated to  arouse  latent  opposition  and  to 
whet  active  criticism.  And  hardly  any  mod- 
ern musician,  save  Wagner,  has  been  the  ob- 
ject of  so  much  hostility  and  animadversion  as 
Brahms.  Did  he,  in  fact,  fulfil  the  confident, 
and  impassioned  predictions  of  his  earliest 
champion?  Yes: — and  no!  His  life-work 
proved  a  disappointment  to  many  once  ardent 
admirers.  Liszt,  hearing  B.  play  his  scherzo 
in  E!>  minor,  mistakenly  welcomed  him  as  an 
apostle  of  extreme  romanticism.  And  the 
young  Brahms — Brahms  the  pianist,  the 
youth  full  of  'fire  and  flame,'  might  well  have 
been  expected  boldly  to  explore  unt ravelled 
paths  leading  to  a  new  Olympus.  Instead  of 
this  he  chose,  unmoved  by  praise  or  blame,  to 
be  a  standard-bearer  of  the  traditions  of  a 
glorious  past.  The  new  paths  which  he  trod 
were  hardly  those  which  Schumann  so  fondly 
anticipated.  Austerely  resisting  the  blandish- 
ments of  the  Muse  of  Programs,  he  stepped 
aside  the  throng  to  worship  at  the  shrine  of 


'Classic'  M  usic.  His  works  prove  conclusively 
that  the  classic  forms  were  not  exhausted  even 
by  the  titanic  Beethoven ;  he  shows  that  in  the 
hands  of  a  master  these  forms  are  inexhaust- 
ible, that  details  can  be  rearranged  without 
disturbing  the  fundamental  lines.  With  B., 
as  with  Beethoven,  the  form  is  eminently 
plastic;  it  always  adapts  itself  to  the  artistic 
content;  it  never  fetters  the  imagination.  B. 
is  an  idealist  of  the  highest  and  purest  type. 
The  fine  fibre  of  his  musicianly  feeling  vibrates 
in  his  humblest  song  as  in  his  proudest  sym- 
phonic movement.  In  the  case  of  his  larger 
tone-pictures,  a  first  hearing  will  not  give 
unalloyed  pleasure.  The  ear  is  sometimes 
wearied  while  seeking  to  follow  the  clue 
to  hjs  meaning  through  mazes  of  Jaby- 
rinthine  intricacy;  and  the  difficulty  is  in- 
creased, it  must  be  confessed,  by  the  pecu- 
liarities of  an  instrumentation  to  which  the 
undignified  epithet  'muddy'  has  been  applied, 
and  which,  contrasted  with  the  glowing,  scin- 
tillating, flashing,  kaleidoscopic  orchestral 
color  of  many  of  his  contemporaries,  shows 
dull  and  monotonous.  But  this  is  the  worst 
that  can  be  urged  against  B.  the  composer: 
and,  given  a  conductor  wholly  in  sympathy 
with  the  work  and  of  an  analytic  turn  of 
mind,  passages  which  under  other  hands 
seemed  like  interminable,  dreary  wastes,  are 
made  to  'blossom  like  the  rose.'  Apprecia- 
tion comes  only  after  familiarity,  ana  when 
an  impression  has  been  made,  the  effect  is 
generally  deep  and  lasting.  In  his  treatment 
of  thematic  rhythms,  B.  is  a  lineal  successor 
of  Beethoven;  in  many  of  his  songs  one 
would  say  that  Schubert  lives  again,  but  a 
Schubert  whose  intense  spontaneity  is  con- 
trolled by  a  subtler  feeling  for  formal  finish. 
Schubert,  Schumann,  Franz,  Brahms  and 
Hugo  Wolf  are  the  five  great  figures  in  the 
history  of  the  Lied.  Brahms'  powerful  indi- 
viduality reaches  the  very  heart  of  the  poem, 
the  mood  in  which  the  poet  conceived  it,  and 
reflects  it  in  the  vocal  melody;  this  vocal 
melody  is  so  closely  interknit  with  the  piano- 
accompaniment,  that  both  flow  on  together 
in  one  broad,  deep  current  of  song.  His  songs, 
part-songs,  and  chamber-music,  much  of  the 
piano-music,  and  several  of  the  choral  works 
(notably  the  Deutsches  Requiem,  the  Triumph- 
lied,  and  the  Schicksalslied),  enjoy  real  and 
undisputed  popularity;  his  four  symphonies, 
the  concerto  for  violin,  and  the  two  piano- 
concertos,  are  only  now  coming  into  their 
own.  He  was  a  model  of  patient,  unremitting 
industry;  he  labored,  for  example,  over  ten 
years,  off  and  on,  upon  his  first  symphony, 
which  created  a  profound  sensation  when 
produced  in  1877;  his  fame  had  already  been 
established,  however,  by  his  Requiem  (1868). 
Brahms  the  pianist  was,  in  his  youth,  a 
brilliant  and  versatile  player,  of  peculiar  note 

110 


BRAHMS 


in  Bach  and  other  classics.  At  the  age  of- 20, 
having  to  play  the  Kreutzer  Sonata  at  a  con- 
cert with  Remenyi,  the  piano  was  discovered 
to  be  a  semitone  below  concert-pitch;  there 
being  no  time  to  retune  it,  B.,  playing  without 
notes,  transposed  his  part  a  semitone  higher 
thmughout^A  to  Bb)  [as  Beethoven  tiara-  . 
posed  his  own  concerto  in  C  to  C#,  at  a  re- 
hearsal]. But  early  in  the  70* s,  owing  to  lack 
of  regular  practice,  his  playing  had  lost  its 
former  charm;  though  still  masterly  in  feeling 
and  intent,  it  was  too  insecure  in  technique 
and  weak  in  climax  to  afford  full  pleasure.  It 
is  by  his  compositions  that  posterity  will 
judge  him;  and  even  the  present  generation 
no  longer  regards  Btilow's  phrase  about  'the 
three  great  B.'s  as  a  witty  saying,  but  as  a 
profound  truth.  In  the  fields  of  choral  and 
absolute  music  the  works  of  Bach,  Beethoven 
and  Brahms  mark  the  highest  achievement. 

In  1906  there  was  founded  in  Berlin  the 
'Deutsche  Brahmsgesellschaft,'  the  chief  ob- 
ject of  which  is  the  publication  of  books 
about  the  master. 

Compositions  (exclusive  of  songs  for  one 
voice  with  pf.): — Op.  1,  sonata  for  pf.  in  C; 
2,  sonata  for  pf.  in  F#  m.;  4,  scherzo  for  pf. 
in  Eb  m.;  5,  sonata  for  pf.  in  F  m.;  8,  trio 
in  B,  for  pf.,  vln.f  and  'cello;  9,  variations  for 
pf.  on  a  tneme  by  Schumann;  10,  4  ballads  for 
pf.;  11,  serenade  for  full  orch.,  in  D;  12, 
Ave  Maria  for  female  ch.  and  orch.  (or  org.); 
13,  funeral  hymn  for  chorus  and  wind;  15, 
pf. -concerto  in  D  m.;  16,  serenade  for  small 
orch.,  in  A;  17,  4  songs  for  female  ch.,  2  horns 
and  harp;  18,  sextet  No.  1,  in  Bb,  for  strings; 
20,  3  ducts  for  S.  and  A.,  with  pf.;  21,  varia- 
tions for  pf.  in  D:  (1)  on  original  theme;  (2) 
on  a  Hungarian  melody;  22,  7  Marienlieder, 
for  mixed  ch.,  in  2  parts;  23,  variations  for 
pf.,  4  hands,  on  theme  by  Schumann;  24, 
variations  and  fugue  for  pf.,  on  theme  by 
Handel;  25,  pf. -quartet  No.  1,  in  G  min.;  26, 
pf.-quartet  No.  2,  in  A;  27,  Psalm  xxiii  for 
women's  voices,  with  org.  (or  pf.);  28,  4  duets 
for  alto  and  bar.,  with  pf.;  29,  2  motets  for  5 
voices;  30,  Sacred  Song  (Paul  Flemming),  for 
4  voices,  mixed  ch.,  and  org.;  31,  3  quartets 
for  S.,  A.,  T.  and  B.,  with  pf.;  34,  pf. -quintet 
in  F  m.;  34a,  sonata  for  pf.  4  hands  (arr. 
from  op.  34);  35,  28  variations  (Studien)  for 
pf.;  36,  sextet  No.  2,  in  G,  for  strings;  37,  3 
sacred  choruses  for  female  voices;  38,  sonata 
in  E  m.,  for  pf.  and  'cello;  39,  16  waltzes  for 
pf.  4  hands;  40,  trio  in  Eb,  for  pf.,  vln.,  and 
horn  (or  'cello);  41,  5  part-songs  for  4  men's 
voices;  42,  3  songs  for  6-part  ch.  a  cappella; 
44,  12  songs  and  romances  for  female  ch.  a 
cappella;  45,  Ein  deutsches  Requiem  f.  soli,  ch. 
and  orch.;  50,  Rinaldo,  cantata  (Goethe),  for 
T.  solo,  male  ch.,  and  orch.;  51,2  string-quar- 
tets (C  m.  and  A  m.);  .52,  Liebeslteder, 
waltzes  for  pf.  and  4  voices;  53,  Rhapsodie 


(from  Goethe's  'Harzreise'),  for  alto  solo,  male 
ch.,  and  orch. ;  5 1,  Schicksalslied  [Song  of  Des- 
tiny] (F.  Holderlin),  for  ch.  and  orch.;  55, 
Triumphlied  (Revelations,  chap,  xix),  for  8- 
part  ch.  and  orch.;  56,  variations  for  orch.  on 
a  theme  by  Haydn;  60,  pf .-auartet  No.  3,  in 
C  m.;  61,  4r  duets  for  S.  and  A.;  62,  7  songs 
for.mlmd  ch.;  64,  3  vocal  quartets  with  pf.; 
65,  Neue  Liebeslieder,  walt^s  for  4  voices  and 

Sf.;  66,  5  duets,  S.  and  A.;  6? 'r  string-quartet 
To.  3,  in  Bb;  68,  symphony  No.  1,  C  m.; 
73,  symphony  No.  2,  in  D;  74,  2  motets  for 
mixed  en.;  75,  4  ballads  and  romances  for  2 
voices  with  pf.;  76,  8  piano-pieces;  77,  violin- 
concerto  in  D;  78,  sonata  for  pf.  and  vln.,  in 
G;  79,  2  rhapsodies  for  pf.  (B  m.  and  G 
m.);  80,  Akademische  Festouvertiiret  f.  orch.; 
81,  Tragische  Ouvertiire,  for  orch.;  82,  Ndnie 
(Schiller),  for  ch.  and  orch.;  83,  pf  .-concerto 
No.  2,  in  Bb;  84,  5  romances  and  songs,  for  1 
or  2  voices;  87,  pf.-trio  in  C;  88,  string-quin- 
tet in  F;  89,  Gesang  der  Parzen  (Goethe),  for 
6-part  ch.  and  orch.;  90,  symphony  No.  3,  in 
F;  91,  2  songs  for  alto,  with  viola  and  pf.;  92, 
4  vocal  quartets  with  pf.;  93a,  songs  and  ro- 
mances, for  4-part  mixed  ch. ;  93b,  TafeUied, 
for  4-part  mixed  ch.;  98,  symphony  No.  4,  in 
E  m.;  99,  sonata  No.  2,  in  F,  for  'cello  and 
pf.;  100,  sonata  No.  2,  in  A,  for  vln.  and  pf.; 
101,  pf.-trio  in  C  m.;  102,  concerto  in  C, 
for  vln.  and  'cello;  103,  8  Zigeunerlieder,  for  4 
voices,  with  pf.;  104,  5  songs  for  mixed  ch.; 

108,  sonata  No.  3,  in  D  m.,  for  vln.  and  pf:; 

109,  Deutsche  FesU  und  Gedenkspruche,  for 
double  ch.;  110,  3  motets  for  4  and  8  voices; 
HI,  string-quintet  No.  2,  in  G;  112,  Zigeuner- 
lieder,  for  4  voices,  with  pf.-accomp.;  113,  13 
canons  for  female  voices,  with  pf.-accomp.; 

114,  trio  in  A  m.,  for  pf.,  clarinet  and  'cello; 

115,  quintet  in  D  m.,  for  clar.  and  strings; 

116,  7  Fantasien  for  pf.;  117,  J  Intermezzi  for 
pf.;  118,  6  Clavier  stiicke  (Intermezzi  in  A  m., 
A,  F  m.,  and  Eb  m.;  Ballade,  Romanze); 
119,  4  ClaviersiUcke  (Intermezzi  in  B  m.,  E 
m.,  and  C;  Rhapsodie);  120, '2  sonatas  for 
clarinet  (or  via.)  and  pf.;  121,  4  ernste  Ge- 
sange,  for  bass  with  pf.;  122,  11  Choralvor- 
spiele  for  organ  (posth.). 

Brahms'  songs  for  one  voice,  with  piano- 
accompaniment,  are  published  in  sets,  vary- 
ing in  number,  as  op.  3,  6,  7,  14,  19,  32,  33 
(from  Tieck's  'Magelone'),  43,  46,  47,  48,  49, 
57,  58,  59,  63,  69,  70,  71,  72,  84,  85,  86,  91, 
94,  95,  96,  97,  105,  106,  107,  121. 

Works  without  Opus-number:  Hungarian 
Dances  for  pf .  4  hands  (4  books) ;  Studten  for 
pf.  [1.  Chopin's  F  m.  £tude,  arr.  in  sixths; 
2.  Weber's  Moto  perpetuo  in  C;  3  and  4, 
Presto  by  Bach  (2  arrs.);  5.  Bach's  Chaconne 
(for  left  hand  alone)];  German  Folk-songs,  51 
Exercises  for  pf.  (7  books);  Joachim's  over- 
turs  to  Henry  IV,  arr.  for  2  pfs.;  Gluck's  Ga- 
votte in  A,  arr.  for  pf.;  a  song,  Mondnacht; 


111 


BRAMBACH 


15  VMskinderlieder.  For  organ,  Prelude  and 
Fugue  in  A  m.,  and  a  Fugue  in  Ab  m. — 
Further  (posth.  publ.)  a  sonata-movement  for 
pf.  and  vln.;  2  cadenzas  to  Beethoven's  G 
major  pf. -concerto;  and  a  trajiscr.  of  Schu- 
bert's Ellens  zweiter  Gesang,  for  soprano  solo, 
female  ch.,  and  wind-instruments* 

A  Thematic  Catalogue  of  B.'s  compositions 
was  publ.  by  N,  Simrock  (Berlin,  1897;  2d 
edition   1902). 

BIBLIOGRAPHY— A.  Biography:  M. 
Kalbeck,  Johannes  Brahms  (8  vols.,  Berlin, 
1904-14;  the  standard  work);  H.  Deiters, 
7.  B.  Eine  Charakteristik  (Leipzig,  I  [1880], 
II  [1898];  both  in  Waldersec's  'Sam ml.  mus. 
Vortrage');  H.  Reimann,  /.  B.  (Berlin,  1897; 
4th  ed.  1911);  A.  Dietrich,  Erinnerungen  an 
J.  B.  in  Briefen,  be  senders  aus  seiner  Jugend- 
zeit  (Leipzig,  1898);  J.  Widmann,  J.  B.  in 
Erinnerungen  (Berlin,  1898;  3d  ed.  1910). 
This  and  the  preceding  in  Engl,  t  ran  si.  by 
Hecht  as  Recollections  of  J.  B.  (London,  1899); 
F.  May,  The  Life  of  J.  B.  (2  vols.,  London, 
1905);  J.  Erb,  B.  (ib.,  1905);  H.  Antcliff,  B. 
(ib.,  1905);  H.  Imbert,  /.  B.:  sa  vie  el  son 
ceuvre  (Paris,  1906);  G.  Henschel,  Personal 
Recollections  of  J.  B.  (Boston,  1907) ;  W.  Pauli, 
J.  B.  (Berlin,  1907);  R.  von  Perger,  B.  (Leip- 
zig, 1908);  H.  C.  Colles,  B.  (London,  1908); 
J.  Fuller-Maitland,  B.  (ib.,  1911);  W.  Thomas- 
San  Galli,  /.  B.  (Munich,  1912);  E.  M.  Lee, 
Brahms,  The  Man  and  His  Music  (London, 
1915);  also  R.  v.  d.  Leyen,  /.  B.  als  Mensch 
u.  Freund  (Dtlsseldorf,  1905). 

B.  Correspondence:  The  complete  corre- 
spondence has  been  publ.  by  the  'Deutsche 
Brahmsgesellschaft'  in  7  vols.  (Berlin,  1906- 
12)  as  follows:  I,  II.  Ed.  by  M.  Kalbeck, 
/.  B.  im  Briefwechsel  mit  Heinrich  u.  Elisabeth 
v.  Herzotenberg  (1906);  III.  Ed.  by  W.  Alt- 
mann,  /.  B.  \m  Briefwechsel  mit  Reinthaler, 
Bruch,  Deiters,  Heimsoetht  Reinecke,  Rudorff, 
Bernh.  u.  Luise  Scholz  (1907);  IV.  Ed.  by 
R.  Barth,  J.  B.  im  Briefwechsel  mit  J.  O. 
Grimm  (1907);  V,  VI.  Ed.  by  A.  Moser, 
/.  B.  im  Briefwechsel  mit  Joseph  Joachim 
(1908);  VII.  Ed.  by  L.  Schmidt,  /.  B.  im 
Briefwechsel  mit  Levi,  Gernsheim  u.  den  Fa- 
milien  Hecht  u.  Fellinger  (1912).  Of  these, 
vols,  i  and  ii  appeared  in  Engl,  transl.  by 
A.  Bryant  (London,  1909).  Interesting  letters 
of  B.  are  found  in  G.  Fischer,  Briefe  Billroths 
(Hanover,  1895;  7th  ed.  1906). 

C.  Criticism,  Appreciation:  L.  Kohler, 
J.  B.  u.  seine  Stellung  in  der  Musikgeschichte 
(Hanover,  1880);  E.  Krause,  /.  B.  in  seinen 
Werken  (Hamburg,  1892);  D.  G.  Mason,  From 
Grieg  to  Brahms  (New  York,  1902);  R.  Barth, 
J.  B.  u.  seine  Musik  (Hamburg,  1904);  G. 
Jenner,  /.  B.  als  Mensch,  Lehrer  u.  Kiinstler 
(Marburg,  1905);  W.  A.  Thomas,  /.  B.  Eine 
musikpsychologische  Studie  (Strassburg,  1905); 
J.  Knorr  and  H.  Riemann,  /.  B.t  Symphonien 


u.  andere  Orchesterwerke  erl&utert  (Berlin, 
1908);  M.  Burckhardt,  /.  B.;  ein  Fuhrer 
durch  seine  Werke  (ib.,  1912);  W.  Hammer- 
mann,  /.  B.  als  Liederkomponist  (Leipzig, 
1912);  E.  Evans,  Historical,  Descriptive  and 
A  nalytical  Account  of  the  Entire  Works  of  J.B. 
(London,  1912;  so  far  only  vol.  r^'TJia  Vocal 
Works,'  has  app.).  See  also  W.  M Ciller  zu 
Aichholz,  Ein  B.-Bilderbuch  (Vienna,  1905); 
M.  Fellinger,  B.-Bildnisse  (Leipzig,  1911). 

Bram'bach,  (Kaspar)  Joseph,  b.  Bonn, 
July  14,  1833;  d.  there  June  19,  1902.  His 
first  teacher  in  comp.  was  A.  zur  Niedcn;  he 
then  studied  1851-4  in  Cologne  Cons.;  won 
Mozart  scholarship,  and  studied  at  Frankfort 
under  Ferd.  Hiller.  Teacher  in  Cologne  Cons., 
1858-61;  1861-9,  musical  director  at  Bonn, 
where  he  lived  as  a  teacher  and  comp.  His 
secular  cantatas  are  especially  noteworthy; 
the  larger  works  are  Trost  in  Tonen,  Das  eleu- 
sische  test,  Friihlingshymnus,  Die  Macht  des 
Gesanges,  Vclleda,  Alcestis,  Prometheus,  and 
Columbus  (1886);  lesser  works  are  Germa- 
nischer  Siegegesang  (1874),  Das  Lied  vom 
Rhein,  Lenzerwachen,  Lor  Hey  (for  alto  solo, 
male  ch.,  and  orch.),  and  Rheinfahrt. — Other 
works:  An  opera,  Ariadne;  concert -overture 
Tasso;  pf. -concerto,  a  pf. -sextet,  a  string- 
sextet,  2  pf.-quartets,  vocal  music. 

Bram'bach,  Wilhelm,  b.  Bonn,  Dec.  17, 
1841;  philologist;  in  1866  prof,  extraordinary, 
1868  ordinary  prof.,  at  Freiburg;  1872-1904, 
head -librarian  at  Karlsruhe. — Works:  Das 
Tonsystem  und  die  Tonarten  des  christlichen 
Abendlands  im  Mittelalter  (1881);  Die  Musik- 
litteratur  des  Mittelalters  bis  zur  Blilthe  der 
Reichenauer  Sdngerschule  (1883);  Hermanni 
Contracts  musica  (1884);  Die  Reichenauer 
Sdngerschule  (1888);  Gregorianisch.  Biblio- 
graphische  Losung  d.  Streitfrage  fiber  d.  Ur~ 
sprung  d.  Gregor.  Gesangs  (1895;  2d  ed.  1901). 

B ram b ilia,  Marietta,  daughter  of  P.  B., 
b.  Cassano  d'Adda,  1807;  d.  Milan,  Nov.  6, 
1875.  Famous  dramatic  contralto  and  sing- 
ing-teacher, pupil  of  Milan  Cons.;  debut 
London,  1827,  as  Arsace  in  Rossini's  Semi- 
ramide,  and  sang  for  years  in  the  principal 
theatres  of  Italy,  London,  Vienna,  and  Paris. 
— Publ.  songs,  vocalises,  etc. 

Brambilla,  Paolo,  b.  Milan,  1786;  d. 
there  1838.  Comp.  4  operas  for  Milan  and 
Turin  (1816-19),  and  6  ballets  for  La  Scala, 
Milan  (1819-33). 

BrambiTla,  Teresa  (sister  of  Marietta), 
b.  Cassano  d'Adda,  1813;  d.  Milan,  July  (?), 
1895.  Studied  singing  at  Milan  Cons.  Began 
dramatic  career  1831  in  small  theatres;  1833, 
sang  with  great  success  in  Milan,  then  in 
Odessa  (Norma);  recalled  1837  to  Milan,  sang 
1840,  at  La  Scala,  in  Due  illustri  rivali  by 
Mercadante,  and  /  Cor  sari  by  Mazzucato, 


112 


BRANCA— BRANDUKOV 


and  became  famous.  After  passing  two  years 
in  Spain,  she  sang  (1846)  in  Paris  in  Nabucco 
with  great  success;  then  eng.  at  La  Fenice 
Th.,  Venice,  where  on  March  11,  1851,  she 
created  the  role  of  Gilda  in  Rigoletto. 

Bran'ca,  Guglielmo,  b.  Bologna,  April 
13,  1849.  Pupil  of  A.  Bus!  in  Bologna  Cons.; 
has  written  the  operas  La  Catalan*  (Florence, 
1876),  Hermosa  (Florence,  1883),  and  La 
Figlia  di  Jorio  (Cremona,  1897). 

Brancac'cio  [-kaht'ch&h],  Antonio,  b. 
Naples,  1813;  d.  there  Feb.  12, 1846.  Pupil  of 
Naples  Cons.;  wrote  the  operas  Rosmunda 
(Venice,  1830) ;  /  duje  Vastest  di  Porto  (Naples, 
1830?);  IPanduri  (Naples,  1843);  7/  Motto  ed 
U  Vivo  (ib.,  1843);  LAssedio  di  CostarUina 
(Venice,  1844);  Francesca  da  Rimini  (Venice, 
1844) ;  V Incognita,  ossia  Dopo  15  anni  (Ven- 
ice, 1846);  II  Puntiglio  (Naples,  1845);  Le 
Sarte  calabresi  (Naples,  1847);  Lilla  (Venice, 
1848). 

Brancour,  Rene,  b.  Paris,  May  17,  1862. 
Since  1904  curator  of  the  museum  of  musical 
instruments  at  the  Paris  Cons.,  and  since 
1906  also  lecturer  on  esthetics  at  the  Sorbonne 
and  Alliance  Francaise.  Besides  valuable 
•essays  in  various  journals,  he  has  written 
biographies  of  FHicien  David  (1911)  and 
MShul  (1912)  in  'Musiciens  Celebres';  also 
Lavieet  Vaeuvre  de  Georges  Bizet  (Paris,  1913). 
Composer  of  a  sonata  for  vln.  and  pf.,  songs, 
and  some  instrumental  pieces. 

Bran'deia,  Frederic  [Frledrich],  b.  Vien- 
na, July  5,  1835;  d.  New  York,  May  14,  1899. 
Pupil  cf  J.  Fischhof  and  Karl  Czerny  (pf.) 
ana  Rufinatscha  (comp.),  also  of  Wilhelm 
Meyerhofer  in  New  York.  Went  to  the 
United  States  in  1849;  debut  as  pianist  in 
N.  Y.,  1851.  He  toured  the  country  with 
various  troupes,  notably  Vincent  Wallace's 
concert-company,  as  solo  pianist  and  cond. 
Organist  of  several  N.  Y.  churches. — Works: 
For  orch.:  Introd.  and  Capriccio;  Grand 
March;  prelude  to  Schiller's  Maria  Stuart; 
Danse  htroique;  a  Suite  for  string-orch. ;  Ro- 
mania for  oboe  and  orch.  For  military  band: 
Funeral  March  of  Humpty  Dumpty,  and 
Polish  Dance;  a  ballade,  The  Bards,  duet  for 
tenor  and  bar.,  with  orch.;  ballade.  The  Ring, 
for  soli,  ch.  and  orch.;  ballade,  The  Sunken 
Cloister,  for  ch.  and  orch.;  pf.-trio  in  G;  sev- 
eral sextets  for  flute  and  strings.  The  above 
are  unpubl.,  though  performed. — Published 
works  include  a  great  variety  of  pf.-pieces, 
songs,  vocal  music  (sacred  and  secular),  etc. 

Bran'des  [-dess],  Emma,  pianist;  b.  near 
Schwerin,  Jan.  20,  1854.  rupil  of  Aloys 
Schmitt  and  court  pianist  Goltermann;  had 
made  several  very  successful  tours  of  Eng- 
land, Germany  and  Austria  when  she  retired 
from  public  life  after  her  marriage  to  Prof. 
Engelmann,  of  Utrecht. 


Bran'des,  Frledrich,  b.  Aschersleben, 
Nov.  18,  1864;  pupil  of  Spitta,  Bellermann 
and  Kretzschmar;  1895,  Gleich's  successor  as 
mus.  critic  of  the  'Dresdner  Anzeiger';  1898 
succeeded  Krantz  as  cond.  of  the  Dresdner 
Lehrer^esan^verein ;  in  1909  he  followed  Reger 
as  musical  director  at  Leipzig  Univ.,  with  the 
title  of  'R.  Saxon  Prof.';  since  1911,  editor  of 
'NeueZeitschriftfiir  Musik/ — Has  composed 
male  choruses,  songs,  and  piano-pieces. 

Bran'dl,  Johann,  b.  Kloster  Rohr,  near 
Ratisbon,  Nov.  14,  1760;  d.  Karlsruhe,  May 
26,  1837,  as  musical  director  to  the  Archduke 
of  Baden. — Works:  2  operas,  Germania  (1810) 
and  Hermann  (1814);  melodrama  Hero;  ora- 
torios, masses,  a  symphony,  much  chamber- 
music,  and  minor  pieces. 

Bran'dl,  Johann,  b.  Kirchenbirk,  Boh., 
Oct.  30,  1835;  d.  Vienna,  June  10,  1913. 
Operetta-composer  in  Vienna;  produced  9 
operettas  since  1869,  all  of  short-lived  popu- 
larity {Die  Kosakin;  Ischl,  1892);  incidental 
music  to  some  100  stage-pieces;  etc. 

Brand'stetter.    See  Garbreght. 

Brandt,  Marianne  (rede  Marie  Bischof), 

b.  Vienna,  Sept.  12,  1842.  Brilliant  contralto 
stage-singer,  pupil  of  Frau  Marschner  at 
Vienna  Cons.,  and  1869-70  of  Viardot- 
Garcia,  Paris;  eng.  1867  in  Graz,  1868-86  at 
Berlin  Court  Opera.  Sang  the  r61e  of  Kundry 
in  Parsifal  at  Bayreuth,  1882,  alternating 
with  Frau  Materna,  who  created  it.  In  1886 
she  sang  in  German  opera  at  New  York. 
Since  1890,  singing-teacher  in  Vienna. — Cf. 
La  Mara,  'Musikalische  Studienkdpfe,'  vol. 
v  (Leipzig,  1902;  3d  ed.). 

Brandts-Buys  [boiss],  Henry,  b.  Deven- 
ter,  April  20,  1851;  d.  Amsterdam,  Oct.  15, 
1905.  A  Dutch  choral  conductor;  composer 
of  male  choruses,  and  the  opera  Albrecht 
Beyling  (Amsterdam,  1891). 

Brandts-Buys,  Jan,  b.  Zutphen,  Sept. 
12,  1868;  nephew  of  preceding,  rupil  of  M. 
Schwarz  and  A.  Urspruch  at  the  Raff  Cons, 
in  Frankfort;  lived  many  years  in  Vienna, 
declining  to  accept  any  position;  since  1910 
living  as  a  solitary  eccentric  near  Bozen.  A 
concerto  for  pf.  and  orch.  in  F,  winning  the 
Bosendorfer  prize  in  1897,  attracted  atten- 
tion; since  then  the  Fitzner  Quartet  has 
Eroduced  some  of  his  chamber-music,  and 
illi  Lehmann  has  sung  a  number  of  his 
songs.  His  first  attempt  at  opera,  Das  Veil- 
chenfest  (Berlin,  1909),  met  with  opposition; 
a  second  opera,  Das  Glockenspiel  [Le  Carillon] 
(Dresden,  1913),  was  received  more  kindly, 
while  a  third,  Die  drei  Schneider  von  Schonau 
(ib.,  1916),  met  with  real  success. 

Bran'dukov  [Brandukow],  Anatole  An- 
dreievitch,  violoncellist;  b.  Moscow,  Jan.  6, 
1859;  pupil  of  Cossmann  and  Fitzenhagen  at 


113 


BRANDUS— BREIDENSTEIN 


Moscow  Cons.  Going  to  France,  he  made  his 
public  debut  under  Saint-Saens  at  Angers  in 
1881;  he  played  in  the  principal  Parisian  and 
London  concerts;  founded  a  quartet  with 
Marsick  in  1886;  lived  in  Paris  till  1889,  and 
settled  in  Moscow,  1890. — Works:  Solo  pieces 
for  'cello,  with  orch.  or  pf. 

Brandus,  Dufonr  et  Gie.  Paris  firm  of 
music-publishers,  founded  by  M.  Schlesinger 
(1334),  and  taken  over  in  1846  by  the  brothers 
Louis  Brandus  (d.  1887)  and  Gemmy  B. 
(d.  1873). 

Brant,  Jotot  (or  Jodocus)  vom  (Junior), 
captain  at  Waldsachsen,  and  governor  of 
Liebenstein,  in  the  16th  century.  54  German 
part-songs,  and  a  6-part  motet,  show  that  he 
was  a  musicianly  contrapuntist. — See  Q.-Lex. 

Brassin  [brahs-san'],  Gerhard,  violinist, 
brother  of  Louis;  b.  Aix-la-Chapelle,  June  10, 
1844;  teacher  at  the  Bern  Music-School  in 
1863 ;  leader  at  Gothenburg,  Sweden ;  teacher 
at  Stern  Cons.,  Berlin,  in  1874;  conductor  of 
Tonkttnstlerverein'  in  Breslau,  1875-80;  later 
in  Petrograd;  now  in  Constantinople.  Publ. 
valuable  solo  pieces  for  violin. 

Brassin,  Leopold,  brother  and  pupil  of 
Louis;  b.  Strassburg,  May  28,  1843;  d.  Con- 
stantinople, May,  1890.  Court  pianist  at 
Koburg;  teacher  at  the  Bern  Music-School, 
later  at  Petrograd  and  Constantinople.  He 
com  p.  concertos  for  1  and  2  pfs. ;  also  many 
solo  pieces  for  pf. 

Brassin,  Louis,  pianist;  b.  Aix-la-Cha- 
pelle, June  24,  1840;  d.  Petrograd,  May  17, 
1884.  Pupil  of  Moschelcs  at  Leipzig  Cons., 
and  made  concert-tours  with  his  brothers 
Leopold  and  Gerhard;  became  teacher  in  the 
Stern  Cons.,  Berlin;  1869-79,  at  Brussels 
Cons.;  then  at  Petrograd  Cons. — Works:  2 
operettas,  Der  Thronfolger  (Brussels,  1865), 
Der  Missionar  (MS.);  the  valuable  Ecole 
moderne  du  piano;  12  Hudes  de  concert; 
salon-pcs.  f.  pf.;  songs.  His  splendid  tran- 
scription of  the  Magic  Fire  music  from  Die 
Walkure  is  in  the  repertoire  of  every  concert- 
pianist. 

Brau'er,  Max,  b.  Mannheim,  May  9, 
1855.  From  1875-6,  pupil  of  Vincenz 
Lachner,  Karlsruhe;  then,  until  1880,  of 
Hiller,  Jensen  and  de  Lange  at  Cologne  Cons. 
From  1880-8,  'Musikdirektor'  at  Kaisers- 
lautern;  since  1888,  musical  director  at  the 
court  church,  Karlsruhe,  and  of  the  'Bach- 
verein',  which  he  founded  in  1905. — Publ. 
works:  Pf  .-pes.  f .  2  and  4  hds. ;  Sonata  f .  pf. 
and  vln.;  pieces  f.  vln.,  'cello,  organ  (Funerale; 
2  Fugues);  Suite  f.  string-orch.;  Serenade  f. 
10  wind-instrs.  and  bass.  Also  Der  Lotse, 
1-act  opera,  prod.  succ.  at  Karlsruhe,  1895; 
rewritten,  Lucerne,  1913;  and  the  3-act 
opera  Morgiane  (Karlsruhe,  1899). 


Braunfels,  Walter,  b.  Frankfort,  Dec. 
19,  1882.  Pupil  of  J.  Kwast  there,  then 
in  Vienna  of  Leschetizky  (pf.)  and  Nawrattl 
(comp.),  and  in^  Munich  of^  L.  Thuille 
(comp.);  living  in  Munich  since  1903. — 
Works:  Two  operas,  Prinzessin  Brambilla 
(Stuttgart,  1909),  Ulcnspiegel  (ib.,  1913); 
op.  la,  -variations  f.  orch.;  op.  18,  Artels 
Gesang  f.  small  orch.;  Serenade  f.  do;  op.  17, 
Offenbarung  Johahnis,  chap,  vi,  f..  ten.,  ch. 
and  orch.;  songs  and  pf.-pes.  (very  modern). 

Brecher,  Gustav,  b.  Eichwald,  near 
Teplitz  (Bohemia),  Feb.  5,  1879.  His  father, 
a  physician,  removed  in  1889  to  Leipzig, 
where  B.  attended  the  Nikolaigymnasium 
1889-98,  and  pursued  his  musical  studies 
under  Jadassohn,  Richard  Hofmann,  and 
Gustav  Schlemuller;  his  first  important 
work,  the  symph.  poem  Rosmersholm,  was 
brought  out  in  1896  by  Richard  Strauss  at 
a  Liszt-Verein  concert  in  Leipzig,  and  B.'s 
debut  as  conductor  was  made  next  year  at  a 
similar  concert.  In  1898  he  became  'Cor- 
repetitor'  at  the  Municipal  Th.,  also  con- 
ducting operatic  performances;  1901,  cond. 
at  the  Vienna  Court  Opera;  1902,  first 
Kapellm.  at  Olmiits  City  Th.;  in  1903  first 
Kapellm.  at  the  Hamburg  City  Th.;  since 
1911  first  Kapellm.  of  the  Cologne  Opera. — 
His  orchl.  works  are  Rosmersholm  and  a 
symph.  fantasia,  Aus  unserer  Zeit  (op.  2); 
has  publ.  several  sets  of  songs  (op.  3-7),  a 
favorite  number  being  Der  Arbeitsmann  (op. 
7,  No.  1);  and  several  essays:  Ober  die 
veristische  Oper,  Analysen  zu  Werken  von 
Berlioz  und  Strauss,  Richard  Strauss,  a 
monograph  [1900J  (these  3  publ.  by  the 
Harmonie-Verlag,  Berlin),  and  Ober  Opern- 
texte  und  Opernubersetzungen:  eine  Studie 
(Jungdeutscher  Verlag,  Berlin).  He  also 
brought  out  a  revised  ed.  of  Auber's  La 
Muette  de  Portici  in  the  'Peters  Ed.' 

Bree  [bra],  [Johannes  Bernardus]  Jean 
Bernard  van,  b.  Amsterdam,  Jan.  29,  1801; 
d.  there  Feb.  14, 1857.  Violinist  and  composer; 
pupil  of  Bertelmann;  1819,  orch  .-player  in 
the  Th.  Francais,  Amsterdam;  1829,  director 
of  the  Felix  Meritis  Society;  founded  the 
'Cecilia*  in  1840;  director  of  the  Music- 
School  of  the  Soc.  for  the  Promotion  of 
Music. — Works:  Dutch  opera  Sapho  (1834); 
German  opera  Nimm  dich  in  Acht  (1845?); 
opera  Le  Bandit  (The  Hague,  1840);  2  melo- 
dramas; several  masses,  cantatas,  overtures, 
chamber-music,  etc.— Cf.  H.  Beijermann, 
/.  B.  van  B.  (1857). 

Brei'denatein,  Heinrich  Karl,  b.  Stein- 
au,  Hesse,  Feb.  28,  1796;  d.  Bonn,  July  13, 
1876.  From  1823,  Music- Director  at  Bonn 
Univ.  He  was  the  originator  of  the  move- 
ment for  the  Beethoven  monument  in  Bonn, 
and  at  its  unveiling  delivered   the  festival 


114 


BREITHAUPT—  BRENET 


address  (1845). — Works:  A  cantata;  chorals, 
etc.;  and  a  Method  of  Singing. 

Breltliaupt,  Rudolf  (Maria),  b.  Bruns- 
wick, Au$.  11,  1873;  student  at  Jena,  Leipzig 
and  Berlin;  pupil  of  Teichmann,  Paul  ana 
Jadassohn  at  Leipzig  Cona*  (1897);  contri- 
butor to  the  'Redende  Kiinste!  .and  .'Neue 
Zeitschrift  fur  Musik';  lives  in  Berlin  as 
writer  and  piano-teacher. — Works:  Die  natur- 
liche Klaviertechnik,  1907,  in  2  Parts  (P.  1. 1904; 
3d  ed.  1912;  P.  II,  Grundlagen  der  Klavier- 
technik,  1907,  transl.  into  French  [1908]  and 
Engl.  [1909]);  and  coll.  essays  as  Musikalische 
Zeit-  und  Streitfragen  (1906) ;  also  a  few  songs. 

Breit'kopf  &  Hartel.  Firm  of  music- 
publishers  at  Leipzig,  founded  (as  a  printing- 
office)  in  1719  by  Bernhard  Christoph  Breit- 
kopf  (b.  Klausthal,  Harz,  Mar.  2,  1695;  d. 
Mar.  26,  1777).  His  son  and  successor,  J.  G. 
Immanuel  Breitkopf  (b.  Nov.  23, 1719;  d.  Jan. 
29,  1794),  entered  the  business  in  1745;  in 
1754,  his  invention  (or  revival  of  Petrucci's. 
invention)  of  movable  types  rendered  it 
possible  for  him  to  add  music-printing  to 
the  firm's  resources,  thus  laying  the  foun- 
dation for  future  expansion.  His  son,  Chr. 
Got t lob  B.,  relinquished  the  business  in 
1795  in  favor  of  his  friend  Chr.  Hartel  (b. 
Schneeberc,  Jan.  27,  1763;  d.  July  25,  1827), 
in  whose  hands  its  prosperity  was  assured; 
he  added  a  piano-manufactory,  founded  the 
'Allgem.  musikalische  Zeitung'  (1798),  intro- 
duced pewter  plates,  and  also  lithographed 
titles.  Successive  heads  of  the  business  were 
Florcnz  Hartel  (1827-35);  Dr.  Hermann 
Hartel  (d.  1875),  and  his  brother  Raimund 
Hartel  (retired  1880;  d.  1888);  and  finally 
the  sons  of  two  sisters  of  Hermann  and 
Raimund — Wilhclm  Volkmann  (b.  1837,  d. 
1896),  and  Dr.  Oskar  von  Hase  (b.  1846). 
With  Dr.  von  Hase  is  now  associated  Dr. 
Ludwig  Volkmann,  the  son  of  Wilhelm  V. — 
Dr.  v.  Hase  is  the  author  of  several  valuable 
works  on  the  history  of  the  book-trade;  Dr. 
Volkmann  is  an  authoritative  writer  on  art. 
^-A  son  of  Dr.  v.  Hase,  Hermann  (b.  1880), 
entered  the  firm  in  1904,  and  is  devoting 
himself  to  a  study  of  the  firm's  valuable 
archives.  He  has  publ.  /.  Haydn  u.  B.  &  H. 
(1909)  and  K.  Ph.  Bach  u.  B.  fr  H.  (1911). 
Among  representative  enterprises  must  be 
mentioned  the  monumental  editions  of  Bach, 
Beethoven,  Berlioz,  Chopin,  Froberger,  Gluck, 
Gretry,  Handel,  Hayan,  di  Lasso,  Liszt, 
Mendelssohn,  Mozart,  Palestrina,  Schein, 
Schubert,  Schumann,  Schtttz,  Victoria,  Wag- 
ner. 

Brema,  Marie  (stage-name  of  Mlnny 
Fehrmann),  dram,  mez.-sop.;  b.  Liverpool, 
Feb.  28,  1856  (father  German,  mother  from 
Richmond,  Va.).  Began  serious  study  (after 
her  marriage  to  Mr.  Arthur  Braun  of  Liver- 


pool in  1874)  under  Henschel  in  1890;  debut 
at  the  Popular  Concert  of  Feb.  21,  1891,  in 
Schubert's  Ganymed,  under  the  name  of 
'Bremer'  (her  father  being  a  native  of 
Bremen);  after  further,  teaching  by  Mme. 
Bessie  Cox  and  Mr.  Blume,  she  made  her 
stage-debut  at  Oxford  in  1891  as  Adrienne 
Lecouvreur,  and  on  Oct.  19  created  the 
rdle  of  Lola  (Cavalleria  Rusticana)  in  London; 
sang  Orfeo  on  Nov.  27.  After  continued 
concert-work,  she  was  eng.  by  Cosima 
Wagner  to  sing  the  Ortrud  at  Bayreuth  in 
1894,  also  appearing  several  times  as  Kundry. 
In  the  season  of  1895  she  sang  the  roles  of 
Ortrud,  Brangane  and  Brunnhilde  (Walkure) 
with  the  Damrosch  company  in  New  York 
and  elsewhere;  sang  in  Brussels  (Orphee, 
Dalila,  Amneris)  with  great  success;  in  the 
season  of  1895-6  she  sang  all  the  great  Wagner 
rdles  at  the  M.  O.  H.;  and  was  again  at 
Bayreuth  1896-7  as  Fricka  and  Kundry. 
Was  well  received  as  Orphee  in  Paris  (1898), 
and  has  been  a  special  favorite  of  the  Pari- 
sians since  her  singing  of  Brangane  at  the 
Lamoureux  concerts  of  1900,  ana  Brunnhilde 
(GoUerd&mmerung)  in  German  at  the  Chateau 
d'Eau  performances  under  Richter  in  1902. 
Her  Marcelline,  at  the  revival  of  Bruneau's 
Attaque  du  Moulin  in  London  (1897),  was  a 
telling  impersonation.  She  created  •  the 
Beatrice  in  Stanford's  Much  Ado  about 
Nothing  (May  30,  1901),  and  the  Angel  in 
Elgar's  Dream  of  Gcrontius  (1900,  Birming- 
ham Fest.).  Now  ranks  among  the  leading 
singers  of  Britain  in  festivals,  concerts,  and 
opera;  prof,  of  singing  at  the  R.  C.  M.  at 
Manchester. 

Bren'del,  Karl  Franz,  b.  Stolberg,  Nov. 
26,  1811;  d.  Leipzig,  Nov.  25,  1868.  Writer 
and  critic  of  neo-German  tendency;  pf. -pupil 
of  Fr.  Wieck;  editor  from  1844  of  Schumann's 
'Neue  Zeitschrift  fur  Musik/  and  1850-60 
of  the  monthly  'Anregunren  fttr  Kunst, 
Leben  und  Wissenschaft.  He  was  later  app. 
prof,  of  mus.  hist,  at  Leipzig  Cons.;  was  also 
one  of  the  founders  (1861),  and  for  years 
the  president,  of  the  Allgemeiner  deutscher 
Musikverein. — Works:  Grundzuge  der  Ge- 
schichte  d.  Musik  (1848;  5th  ed.  1861); 
Gesch.  d.  Musik  in  Italien,  Deutschland  u. 
Frankreich  von  den  ersten  christlichen  Zeiten 
an,  etc.  (1852;  7th  ed.,  edited  by  Kienzl, 
1888;  new  auem.  ed.,  edited  by  R.  Hdvker, 
1902,  and  reissued  1906);  Die  Musik  der 
Gegenwart  u.  die  Gesammtkunst  der  Zukunft 
(1854);  Franz  Liszt  als  Symphoniker  (1859); 
Die  Organisation  des  Musikwesens  durch  den 
Stoat  (1865);  Geist  u.  Technik  im  Klavier- 
unterricht  (1867);  also  many  newspaper 
articles,  publ.  1888  as  Gesammelte  Aufsdtze 
zur  Geschichte  u.  Kritik  d.  neueren  Musik. 

Brenet,  Michel  [brii-na'],  reete  BobiUler, 
French  musicograph;  b.  Luneville,  April  12, 


115 


BRENNER— BREUER 


1858.  After  living  in  Strassburg  and  Metz 
she  has  resided  in  Paris  since  1871. — Works: 
Histoire  de  la  symphonic  &  orchestre  depuis 
ses  origines  jusqu'd  Beethoven  (1882);  Gretry, 
sa  vie  et  ses  eeuvres  (1884);  Deux  pages  de  la 
vie  de  Berlioz  (1889);  Jean  d'Okeghem  (1893); 
La  musique  dans  les  processions  (1896;  lec- 
tures); SSbastien  de  Bros  sard  (1896);  La 
musique  dans  les  convents  de  femmes  (1898; 
lectures);  Claude  Goudimel  (1898);  Notes  sur 
V histoire  du  luth  en  France  (1899);  Les  con- 
certs en  France  sous  Vancien  regime  (1900); 
Additions  inedites  de  Dom  Jumilhac  d  son 
traitS  (1902);  La  jeunesse  de  Rameau  (1903); 
Palestrina  (1906);  La  plus  ancienne  mSthode 
francaise  de  musique  (1907);  Haydn  (1909;  in 
'Les  Mattres  de  la  musique');  Les  Musiciens 
de  la  Sainte-ChapeUe:  documents  intdits,  etc. 
(1910);  Musique  et  musiciens  de  la  vieille 
France  (1911);  Hcendel  (1913,  *in  'Musiciens 
Celebres');  valuable  essays  and  articles  in 
the  'Grande  Encyclopedic/  the  'Correspon- 
dant,'  'Guide  musical/  'Journal  musical/ 
'Revue  musicale/  'Tribune  de  St.-Gervais/ 
'Ri vista  Musicale  Italiana/  and  the  publi- 
cations of  the  I.  M.  S. 

Bren'ner,  Ludwig  (Ritter)  von,b.  Leipzig, 
Sept.  19,  1833,  and  pupil  of  the  Cons.;  d. 
Berlin,  Feb.  9,  1902.  After  tours  on  the 
Continent,  he  settled  in  Petrograd  for  IS 
years  as  a  member  of  the  Imp.  orch.;  1872-6, 
cond.  of  the  Berlin  Symphony  Orch.;  in 
1876,  est.  an  orch.  of  his  own  ('Neue  Berliner 
Symphoniekapelle').  Removed  to  Breslau, 
where  from  1897  he  cond.  Meyder's  Concert 
Orch.,  succeeding,  Meyder. — Works:  4  grand 
masses;  2  Te  Deums;  symphonic  poems, 
overtures,  and  other  orchestral  music. 

Brea'laur,  Emil  (Prof.),  b.  Kottbus,  May 
29,  1836;  d.  Berlin,  July  27,  1899.  Studied 
1863-7  at  the  Stern  Cons.,  Berlin;  from 
1868-79,  teacher  at  Kullak's  Acad.;  from 
1883,  choirmaster  at  the  Reformed  Syna- 
gogue. A  Music-Teachers'  Society  founded 
by  him  in  1879  developed  in  1886  into  the 
'Deutscher  Musiklehrer-Verband.'  He  was 
also  the  founder  and  director  of  a  Piano- 
Teachers'  Seminary,  editor  of  the  'Klavier- 
lehrer',  and  the  author  of  several  important 
works  on  piano-playing:  Die  technische 
Grundlage  des  Klavierspiels  (1874,  earned  him 
the  title  of  'Prof.');  Fiihrer  durch  die  Klavier- 
unUrrichts-LiUeratur;  Zur  methodischen  Obung 
des  Klavierspiels;  Der  enhvickelnde  Unterricht 
in  der  Ilarmonielehre;  Vber  die  schddlichen 
Folgen  des  unrichtigen  Dbens;  also  a  Klavier- 
schule;  a  compilation,  Methodik  des  Klavier- 
unterrichts  in  Einzelaufsdtzcn  (1887);  and  a 
Melodiebildungslehre  auf  Grundlage  des  har- 
mon.  u.  rhythm.  Elements  (1896). 

Bressler-Gianoll,  Clotilde,  dramatic 
contralto;    b.    Geneva,    of    Italian    parents, 


June  3,  1875;  d.  there  May  12,  1912  (after 
an  operation  for  appendicitis).  A  precocious 
piamstic  talent,  she  played  in  public  at  7 
in  Geneva;  studied  at  the  Cons,  there  under 
Krause  (pf.)i  Hugo  de  Sanger  (harm.),  and 
Barblan  (pf.  and  harm.);  later  vocal  training 
at  Milan  Cons,  with  Sangiovanni,  G.  Giacosa 
and  Ronctmi,  making ^  operatic  debut  when 
only  19  at  Geneva  in  Samson  et  Dalila. 
After  two  years  in  Geneva  followed  a  season 
at  La  Scala,  Milan,  an  engagement  at  the 
Monnaie,  Brussels,  a  season  at  Bordeaux; 
she  then  sang  at  Lyons,  and  at  the  Opera- 
Comique,  Paris,  where  her  Carmen  made  a 
sensation.  As  a  member  of  the  San  Carlos 
company  at  New  Orleans  and  New  York 
she  won  great  favor,  which  increased  during 
her  subsequent  engagement  by  Hammerstein 
at  the  Manhattan  Opera  House  (N.  Y.; 
1906-8);  after  the  season  1909-10  at  the 
M.  O.  H.,  she  was  a  member  of  the  Phila- 
Chicago  Opera  Co.  until  her  death.  She  was 
an  enthusiastic  student  of  Wagner,  and  sang 
Fricka  (Walkure),  Ortrud,  and  Brangane; 
created  several  rdles  in  modern  French  operas 
(OrphSet  Louise,  Jael,  La  Vendtenne,  Les 
Barbarest  Janie  [Jaques-Dalcroze],  Deidamie) ; 
favorites  were  Orphee,  Carmen,  Princesse 
Rayon  de  Soleil,  Rosina  (Barbiere),  Magda- 
lene (Meistersinger).  Her  repertory  embraced 
some  forty  standard  operas,  from  Rigoletto 
and  Traviata  to  Madama  Butterfly  and  PelUas 
et  MSlisande.  Her  voice  was  a  sweet  and 
powerful  contralto  of  2XA  octaves'  compass. 

Bret6n  y  Hernandez  [ar-nahn'dathl,  To- 
mas,  b.  Salamanca,  Dec.  29,  1850.  Studied 
at  the  Cons,  in  Madrid;  one  of  the  most 
fertile  and  most  important  dram,  composers 
of  Spain.  The  more  important  operas  (all 
prod,  at  Madrid)  are  Los  A  mantes  de  Teruel 
(1889),  Juan  Garin  (1892),  Dolores  (1895), 
El  Domingo  de  Ramos  (1896),  La  Verbena  de  la 
Paloma  (1897),  Raquel  (1900),  El  CabaUo  del 
senorito  (1901),  FarineUi  (1903),  TaborS 
(1913);  an  oratorio,  Apocalipsia,  was  prod,  in 
Madrid  in  1882;  wrote  also  for  orch.  (Escenas 
Andaluzas,  Polonaise,  Scherzo,  Funeral  March 
for  Alfonso  XII);  chamber-music. 

Breu'er  [broi-],  Hans,  dramatic  tenor;  b. 
Cologne,  April  27,  1870  (not  1869);  pupil 
1890-2  of  Iffert  and  Stolzenberg  at  Cologne 
Cons.;  then  studied  (on  invitation  of  Frau 
Cosima  Wagner)  at  the  Bayreuth  'Stilbil- 
dungsschule'  till  1896  under  Kniese.  Debut 
at  Bayreuth  in  1896  as  Mime  (first  pro- 
duction of  the  Ring  cycle  since  1876);  then 
called  to  Breslau  for  the  festival  performances 
in  honor  of  the  Czar,  and  sang  there  one 
year;  season  of  1897-8  in  the  United  States 
with  Damrosch  (David,  Erik,  Jaquino,  Ring 
rdles);  summer  of  1898  at  Covent  Garden, 
London,    and    the    following    winter    season 


116 


rBREUNING— BREWER 


starred  in  Holland,  Germany,  Switzerland, 
England,  etc.;  1892-1900  in  America  with 
Grau,  and  in  the  summer  at  London,  next 
winter  at  the  Vienna  Court  Opera;  has  sung 
at  all  the  Bayreuth  Festivals  from  1896  to 
1914  (Mime,  David),  and  in  1907-8  at  the 
Munich  Festivals;  also  1906  at  the  Mozart- 
fest  in  Salzburg  (Basilio  in  Figaro).  His 
specialties  are  Wagner  and  Mozart,  but  he 
sings  the  entire  repertory  of  German  rdles 
for  'Spieltenor.' 

Breunlng  [broi'-],  (Moritz)  Gerhard  von, 

b.  Vienna,  Aug.  28,  1813;  d.  there  May  6, 
1892.  A  son  of  Beethoven's  friend  Stephan 
von  B.;  wrote  A  us  dem  Schwarzspanierhause 
(Vienna,  1874;  new  ed.,  with  additions  by 
Kalischer,  Berlin,  1907),  valuable  because  of 
the  author's  personal  association  with  the 
master. 

Breval,  Jean- Bap  tiste,  b.  Dept.  of  V  Aisne, 
France,  1765;  d.  Chamomile,  1825.  'Cellist, 
pupil  of  Cupis;  1st  'cellist  at  Grand  Opera 
(1781-1806),  and  'cello-prof,  at  Cons.  (1796- 
1802). — Works:  2  operas,  8  symphonies,  7 
'cello-concertos,  much  chamber-music,  and  a 
Method  for  'cello. — See  Q.-Lex. 

Breval,  Lucienne  (stage-name  of  Bertha 
Brennwald),  b.  Mannedorf,  Switzerland, 
Nov.  4,  1870.  Educated  at  first  as  a  pianist 
in  Lausanne  and  Geneva;  ent.  Paris  Cons,  in 
1885;  pupil  there  of  Warot,  d'Obin  and 
Giraudet;  took  1st  prize  for  opera  in  1890. 
Debut  at  Grand  Opera  as  Sehka  in  VAfri- 
caine,  Jan.  20,  1892;  since  then  principal 
dram,  soprano  at  the  Opera;  has  not  sung 
outside  of  France,  except  two  seasons  in 
America  (1900-1  and  '01-2)  and  some 
appearances  at  Cov.  Garden.  At  the  first 
performances  of  the  Wagner  dramas  at  the 
Opera  she  invariably  created  the  chief  sop. 
rdles;  created  also  chief  rdles  in  Holmes' 
La  Montagne  noire  (1895),  Guiraud's  FrtdS- 
gonde  (1895),  Vidal's  Burgonde  (1898), 
Massenet's  GrisSlidis  (1901),  Erlanger's 
Fils  de  Vetoile  (1904),  Dukas'  Ariane  et 
Barbe-Bleue  (1907),  Massenet's  Bacchus 
(1909),  Bloch's  Macbeth  (1910).  She  has 
actually  sung  about  50  rdles;  in  Boston 
(Apr.  9,  1901)  she  sang  Briinnhilde  in 
German. 

Brevllle,  Pierre  (-Onfroy)  de,  b.  Bar-le- 
Duc,  Feb.  21,  1861.  Intended  for  a  diplo- 
matic career,  he  took  up  music  instead, 
studying  at  first  at  the  Cons,  with  Th. 
Dubois  (1880-2),  later  with  Cesar  Franck, 
whose  devoted  admirer  he  became;  he  com- 
pleted (with  d'Indy  and  others)  Franck's 
unfinished  opera  GhiseUe.  Since  1889  he  has 
been  prof,  of  cpt.  at  the  Schola  Cantorum; 
also  member  of  the  examination  committee 
for  chamber-music  and  comp.  at  the  Cons.; 
1897-9  critic   for  4La  France',   'La   Revue 


Internationale  de  Musique'  and  'Mercure  de 
France*.  A  serious  composer  of  modern 
French  tendencies. — Works:  Eros  Vainqueur 
(3-act  lyric  opera,  Brussels,  1910);  Sainte- 
Rose  de  Lima,  'Scene  mystique'  for  chorus, 
soli  and  orch.;  3-part  mass  (w.  org.,  str.-orch. 
and  harp);  motets,  liturgical  choral  comps.; 
also  overture  to  Maeterlinck's  La  Princesse 
Maleine,  and  incidental  music  to  M.'s  Sept 
Princesses  and  Kalidasa's  SakunkUa;  the  orch. 
suites  Nuit  de  Dicembre  and  Stamboul;  Une 
ouverture  pour  un  drame,  for  orch.;  M6deia, 
for  soli,  female  voices  and  orch.;  La  Ute  de 
Kenware'h,  for  baritone,  ch.  and  orch.;  VOn- 
dine  et  le  p%cheur,  for  mixed  ch.  and  orch.; 
Bernadette,  ditto;  an  organ-suite,  pf. -pieces, 
etc.;  .and  published  Sur  les  chansons  popu- 
lates franchises  (1901). 

Brewer,  Alfred  Herbert,  organist,  comp. ; 
b.  Gloucester,  England,  June  21,  1865.  Won 
the  first  musical  scholarship  and  studied  at 
the  R.  C.  M.  under  Sir  Walter  Parratt,  Sir 
Chas.  Stanford,  and  Sir  Fred.  Bridge.  Org. 
of  St.  Catherine's  Ch.,  Gloucester  (April, 
1881);  of  Bristol  Cathedral  (1885);  organist 
and  music- master  Trowbridge  School  (1892); 
since  1896  organist  and  choirm.  Gloucester 
Cath.;  also  conductor  Gloucester  Triennial 
Musical  Festival,  of  the  Gloucestershire  Or- 
chestral Society,  Choral  Society  and  Orpheus 
Soc.;Mus.  Bac,  Dublin  (1897);  Mus.  Doc., 
Cantab.  (1905);  Examiner  Assoc.  Board  of 
the  R.  A.  M.  and  R.  C.  M.— Works:  The 
sacred  cantatas  Dedication  Ode,  The  Holy 
Innocents,  A  Song  of  Eden,  Emmaus;  Eng- 
land, my  England,  for  baritone  with  orch.; 
Summer  Sports,  suite  for  chorus  and  orch.;  2 
pieces  for  orch.,  Age  and  Youth;  Idyl,  for 
orch.;  several  services;  anthems;  organ-pieces; 
pieces  for  pf.  and  vln.;  songs. 

Brewer,  John  Hyatt,  org.  and  composer; 
b.  Brooklyn,  N.  Y.,  Jan.  18,  1856.  For  7 
years  he  was  boy-soprano  in  various  churches; 
was  a  vocal  pupil  of  Walter,  Cutler,  and 
Wilder,  learned  pf.  and  harm,  of  R.  Navarro, 
and  organ-playing  of  Diller,  Caulfield, 
Whitely,  and  Dudley  Buck  (pupil  of  the 
latter  for  10  years,  in  org.,  cpt.,  and  com- 
position). In  1871,  B.  began  his  career  as 
org.  at  the  City  Park  Chapel,  passing  to  the 
Ch.  of  the  Messiah  (4  yrs.),  Clinton  Ave. 
Congr.  Ch.  (4  yrs.),  and  finally  (1881)  to 
the  Lafayette  Ave.  Presby.  Ch.  as  organist 
and  director,  which  he  holds  at  this  date 
(1916).  Active  member  of  the  N.  Y.  MS. 
Soc.,  the  N.  Y.  State  M.  T.  A.,  the  Brook- 
lyn Institute  of  Arts  and  Sciences  (Sec. 
of  mus.  dept.;  elected  Fellow  in  1906), 
Brooklyn  Apollo  Club  (charter  member, 
and  accompanist  during  the  conductorship 
of  Dudley  Buck,  whom  he  succeeded  as 
cond.   in   1903);   co-founder  of   the  A.   G. 


117 


BRIARD— BRINSMEAD 


O.,  and  its  warden  for  3  years.  Has  cond. 
the  Brooklyn  Hill,  Orpheus,  Damrosch, 
and  Boylston  Glee  Clubs,  the  Caecilia 
Ladies'  Vocal  Soc.,  and  the  Hoadley  Ama- 
teur Orch.;  prof,  of  music  at  Adelphi  College, 
1899-1906;  Mus.  Doc.  (hon.  c.)  N.  Y.  Univ., 
1916;  and  is  a  busy  instructor  in  voice,  pf., 
organ,  and  theory. — Works:  Over  150,  inch 
some  30  songs  (sacred  and  secular),  duets, 
quartets,  anthems,  glees,  choruses  and  can- 
tatas (for  women's  voices,  Hesperus,  The  Sea 
and  the  Moon,  Herald  of  Spring,  Twilight 
Pictures,  etc.;  for  men's  voices,  Autumn,  Cal- 
vary Song,  Birth  of  Love,  'Sing,  sing,  music 
was  given,*  'Break,  break,  break,  The  Dunder- 
berg,  etc.);  also  pieces  for  organ,  pf.  and 
strings;  duos  for  organ  and  pf.;  a  Suite 
(MS.)  for  orch.;  a  string-quartet  in  D  m. 

Briard  [br§-ahr']f  fttienne,  type-founder  at 
Avignon,  1st  half  of  16th  century.  His 
types  had  round  note-heads  instead  of  the 
ordinary  angular  ones,  and  separate  notes 
instead  of  ligatures.  Carpentras  works  were 
printed  (Avignon,  1532)  with  them. 

.  Bricclal'dl  [bret-chahl'de],  Giulio,  re- 
nowned flutist,  b.  Terni,  Papal  States,  Mar.  2, 
1818;d.  Florence,  Dec.  17, 1881.  At  15  he  was 
elected  a  member  of  the  St.  Cecilia  Acad,  at 
Rome;  1834,  maestro  to  the  Prince  of  Syra- 
cuse. Made  concert-tours  in  England, 
America,  etc.  After  1842,  lived  chiefly  in 
London. — Works:  Opera  Leonora  de'  Medici 
(Milan,  1855);  excellent  works  f.  flute,  also 
a  Flute  Method. 

Bridge,  Sir  John  Frederick,  b.  Oldbury, 
Worcestershire,  England,  Dec.  5,  1844.  He 
became  a  chorister  in  Rochester  cathedral  in 
1850,  and  was  then  articled  to  J.  Hopkins, 
and  studied  later  under  Sir  John  Goss. 
Organist  (1865)  of  Trinity  Ch.,  Windsor, 
1869  of  Manchester  cathedral;  1875  deputy, 
and  1882  principal,  organist  at  Westminster 
Abbey.  In  1868  he  took  the  degree  of  Mus. 
Doc.  (Oxford)  with  the  oratorio  Mount 
Moriah.  Now  professor  of  harmony  and 
counterpoint  at  the  R.  A.  M.,  prof,  at  the 
University  of  London,  also  at  Gresham  Coll., 
and  conductor  of  the  Madrigal  Society. 
Knighted  in  1897.— Works:  Cantatas  Boadicea 
(1880),  Rock  of  Ages  (1885),  and  Callirrhoe 
(Birmingham,  1888);  The  Repentance  of 
Nineveh,  dramatic  oratorio  (Worcester, 
1890);  The  Lord's  Prayer  [after  Dante] 
(1892);  The  Cradle  of  Christ  ('Stabat  Mater 
speciosa,'  1894);  5  choral  ballades,  The 
Festival,  The  Inchcape  Bell,  The  Flag  of 
England,  The  Ballad  of  the  Camperdown, 
The  Forging  of  the  Anchor;  concert -overture, 
Morte  d  A  rthur;  Magnificat  and  Nunc  Dimittis, 
in  D ;  anthems,  part-songs,  and  songs.  Has 
written  primers  on  Counterpoint,  Double- 
Counterpoint,    Canon,   and   on  the   Organ- 


accompaniment   of  the  Choral  Service;   A 
Course    of    Harmony    (1899);    and    Samuel 
Pepys,    Lover   of   Musique    (1903).       Editor 
of  selected  motets  of  Gibbons  (1907). 

Bridge,  Joseph  Cox,  brother  of  preceding; 
b.  Rochester,  England,  Aug.  16,  1853.  Pupil 
of  his  brother  and  Hopkins;  since  1877,  org. 
of  Chester  cathedral.  In  1879  he  revived 
the  Chester  Triennial  Musical  Festival  (which 
had  not  been  held  for  50  years)  and  was  the 
cond.  until  1900;  since  then  Hon.  Sec.  of 
same;  founded  and  cond.  the  Chester  Mus. 
Soc.  (1883);  cond.  Bradford  Fest.  Chor.  Soc, 
1887-90;  since  1908  prof,  of  music  at  Univ. 
of  Durham.  Is  also  vice-pres.  of  the  Chester 
Archaeological  Society  and  Fellow  of  the 
'Society  of  Antiquaries';  examiner  in  music 
to  the  Univs.  of  Durham,  Oxford  and  London. 
Mus.  Bac.,  Oxon.,  1876;  Mus.  Doc.,  1884. 
— Works:  Oratorio  Daniel  (1885);  cantatas 
Rudel  (1891)  and  Resurgam  (1897);  Evening 
Service  in  C,  w.  orch.  (1879);  Requiem  Mass 
(1900);  operetta,  The  Belle  of  the  Area;  a 
symphony  in  F  (1894);  a  string-quartet;  a 
sonata  f.  'cello  and  pf.;  anthems,  part-songs, 
songs,  organ-music,  pf.-pieces,  etc. 

Brie'gel,  Wolfgang  Karl,  b.  Germany, 
May  21,  1626;  d.  Darmstadt,  Nov.  19,  1712. 
Org.  in  Stettin;  1650,  court  cantor  in  Gotha; 
1670,  court  Kapellm.  at  Darmstadt.  His 
numerous  church-comps.  and  instrumental 
pes.  (publ.  1652-1709)  were  highly  esteemed. 
— See  Q.-Lex. 

Brie'semeister,  Otto,  operatic  tenor;  b. 
Arnswalde,  May  18, 1866;  student  of  medicine 
and  M.  D.,  but  took  up  vocal  study  under 
Wiedemann  at  Potsdam;  debut  Detmold, 
1893;  eng.  later  at  Aachen  and  Breslau;  now 
unattached.  As  Loge,  and  particularly  as 
Herodes  in  Strauss'  Salome,  his  imperson- 
ations are  highly  characteristic. 

Bright,  Dora  Estella,  pianist;  b.  Sheffield, 
Aug.  16,  1863;  pupil  1881-8  of  the  R.  A.  M. 
at  London,  where  she  is  well  known  for  her 
yearly  recitals  (c.  g.,  in  1892,  the  historical 
concerts  'from  Byrd  to  Cowen').  Has  also 
made  successful  tours  of  Germany.  Married 
in  1892  toCapt.  Knatchbull.— Works:  2  pf.- 
concertos,  1  pf.-quartet,  a  suite  f.  pf.  and 
vln.,  a  Duo  f.  2  pfs.,  Variations  f.  pf.  with 
orch.,  songs,  etc. 

Brink,  Jules  ten,  b.  Amsterdam,  Nov.  4, 
1838;  d.  Paris,  Feb.  9,  1889.  Pupil  of  Heinze 
(Amsterdam),  Dupont  (Brussels),  and  E. 
Fr.  Richter  (Leipzig);  1860-8,  music-director 
at  Lyons;  then  settled  in  Paris. — Works:  2 
operas,  Calonice  (1870,  1-act,  comic),  and  a 
grand  opera  (?)  (MS.);  suite  f.  orch.;  sym- 
phony, symphonic  poem,  violin-concerto,  etc. 

Brlnsmead,  John,  b.  Wear  Gifford,  North 
Devon,  Oct.    13,   1814.     Founded   hi9  cele- 


118 


BRISSLER— BRODSKY 


brated  piano-factory  in  London,  1835.  In 
1863  his  sons,  Thomas  and  Edgar,  were  ad- 
mitted to  partnership  ('John  B.  &  Sons').  His 
'Perfect  Check  Repeater  Action'  (pat.  1868) 
is  well  spoken  of.  The  firm  was  incorporated 
in  1900.— Edgar  B.  wrote  a  History  of  the 
Pianoforte  (1868;  revised  and  republ.  1879). 

Brissler,  Friedrich  Ferdinand,  b.  In- 

sterburg,  June  13,  1818;  d.  Berlin,  July  30, 
1893.  Pupil  (1836)  of  the  Berlin  Academy; 
gave  piano-recitals  and  concerts  1838-45; 
and  became  teacher  at  the  Stern  Cons. — 
His  2-  and  4- hand  arrangements  of  classical 
works  are  noteworthy.  He  comp.  an  opera, 
symphony,  and  other  music. 

Bristow,  George  Frederick,  b.  Brooklyn, 
N.  Y.f  Dec.  19,  1825;  d.  New  York,  Dec.  13, 
1898.  Violinist  (1836)  in  Olympic  Th.f  N.  Y.; 
from  1842,  in  the  N.  Y.  Philh.  Soc.;  also  from 
1851-62  cond.  of  the  Harmonic  Soc.,  after- 
wards of  the  Mendelssohn  Union,  and  organist 
at  several  churches. — Works:  Opera,  Rip 
Von  Winkle  (N.  Y.,  1855);  opera  Columbus 
(unfin.);  2  oratorios,  Praise  to  God  (1860) 
and  Daniel  (1867);  2  cantatas,  The  Great 
Republic,  w.  orch.  (1880)  and  Niagara;  5 
symphonies;  2  overtures;  2  string-quartets; 
anthems,  songs,  pes.  f.  org.,  pf.,  and  vln. — 
His  father,  W.  K.  Bristow  (b.  England, 
1803;  d.  1867),  was  well  known  as  a  con- 
ductor in  New  York. 

Bri'xi,  Franz  Xaver,  church -composer;  b. 
Prague,  1732;  d.  there  Oct.  14,  1771.  Taught 
by  Sogert  at  Prague;  organist  of  St.  Callus; 
1756,  Kapellm.  at  Prague  cathedral. — Works: 
52  grand  masses,  24  minor  ones,  several 
oratorios,  a  Requiem,  etc. — See  Q.-Lex. 

Broadwood  &  Sons,  London  firm  of  pf.- 
makers;  est.  1730  by  the  Swiss  Burkhard 
Tschudi  (Shudi),  a  renowned  harpsichord- 
maker.  ^  John  Broadwood  (1732-1812),  a 
Scotch  joiner,  was  Shudi's  son-in-law  and 
successor,  and  was  in  turn  succeeded  by  his 
sons  James  Shudi  and  Thomas.  Henry 
Fowler  Broadwood  was  the  head  of  the  firm 
at  the  time  of  his  death  (London,  July  8, 
1893).  Up  to  1885  the  firm  had  turned  out 
nearly  180,000  instruments.  They  use  the 
'English  action,'  based  on  the  Cristofori- 
Silbermann  model,  successively  improved  by 
Americus  Backers  and  the  Broadwoods. 

Brockway,  Howard  A.,  b.  Brooklyn, 
N.  Y.,  Nov.  22,  1870.  St.  pf.  18  mos.  with 
H.  O.  C.  Kortheuer,  and  went  to  Berlin  in 
1890,  studying  there  for  5  years  under 
Barth  (pf.)  and  O.  B.  Boise  (composition). 
Returning  in  1895  he  settled  in  N.  Y.  as  a 
teacher  and  concert-pianist;  1903-9. member 
of  faculty  of  Peabody  Inst.,  Baltimore;  since 
1910  again  in  N.  Y.,  teaching  pf.  and  comp., 
and  concertizing. — Publ.  works:  Variations 
on  an  original  theme,  f.  pf.;  6  Claviers ttlcke; 


Sonata  f.  pf.  and  vln.  (G  min.);  Ballade  f. 
pf.;  a  Cavatina  and  a  Romanze  f.  vln.  and 
orch.  (both  publ.  w.  pf.-accomp.);  Nocturne 
f.  pf.;  Character  stiicke  'Pagan in i,'  i.  pi. \  Mo- 
ment   musical    f.    vln.   and    pf.;   Phantasie- 


stucke   f.    pf.    (publ.    in   Berlin);  Dance  of 
25,  26);  2  ditto  (op.  39);  Serenade  f.  pf.; 


the  Sylphs  f.  pf.   (arr.  from  Sylvan  Suite 
orch.);  sets  of  4,  2  and  6  pf.-pes.  (op.  21, 


6  pf.-pes.,  Moods  (op.  36);  3  pes.  f.  vln.  and 
pf.;  suite  f.  'cello  w.  orch.,  E  min.  (publ.  w. 
pf.-acc.);  Des  Sanger s  Fluch  f.  8-part  ch.  a 
capp.;  2  8-p.  mixed  choruses  a  capp.,  op.  24; 
cantata  Herr  Oluf,  f.  mixed  ch.  w.  orch.; 
numerous  songs. — In  MS.,  Sylvan  Suite  I. 
orch.  (Boston,  1903,  Gerickc);  Symphony  in 
D  (Boston,  1907,  K.  Muck);  Scherzo  f. 
orch.;  Ballad  in  G  m.  for  orch.; — B.  was 
appointed  by  Earl  Grey  as  sole  musical 
judge  in  the  'Earl  Grey  Musical  and  Dra- 
matic Trophy  Competition*  held  in  Toronto, 
Canada,  in  April,  1910. 

Brod'sky,  Adolf,  distinguished  violinist; 
b.  Taganrog,  Russia,  Mar.  21,  1851.  Pupil 
of  J.  Hellmesberger  and  the  Vienna  Cons. 
(1860-6).  Member  of  the  Hellmesberger 
Quartet;  1868-70,  of  the  Imp.-orch.;  studied 
with  Laub  at  Moscow  (1873-5),  and  followed 
him  as  prof,  at  the  Cons.  Leaving  Moscow 
in^  1879,  he  cond.  the  symphony  concerts  at 
Kiev,  and  made  long  and  successful  concert- 
tours  in  1881  (Paris,  Vienna,  London).  At  a 
concert  of  the  Philharm.  Soc.  at  Vienna  in 
1882  he  gave  the  first  public  performance  of 
Tchaikovsky's  concerto  for  vl.,  and  won  a 
sensational  success,  which  was  repeated  in 
many  other  German  centres  where  he  per- 
formed this  concerto  by  request.  From 
1883-91  he  was  prof,  at  the  Leipzig  Cons., 
succeeding  H.  Schradieck.  Here  he  estab- 
lished the  Brodsky  Quartet  (with  H.  Becker, 
O.  Novacek,  J.  Klengel);  which  soon  enjoyed 
international  reputation,  appearing  on  fre- 
quent tours  ot  Germany,  Russia,  Italy, 
Holland  and  Belgium.  The  years  1891-4  he 
spent  in  New  York  as  concert -master  of  the 
N.  Y.  Symphony  Orch.,  and  touring  the 
U.  S.  and  Canada;  then  returned  to  Germany 
for  further  tours  of  that  country  and  Russia. 
In  1895  he  settled  in  Manchester  as  leader 
of  the  Halle  Orchestra  and  principal  prof, 
of  vl.  at  the  R.  C.  M.  Three  weeks  after  his 
arrival  Sir  Charles  Halle  died,  and  B.  suc- 
ceeded him  as  dir.  of  the  R.  C.  M.,  a  position 
which  he  has  held  ever  since.  There  he  also 
established  another  quartet  (with  Briggs, 
Speelman,  Fuchs),  whose  reputation  is 
scarcely  less  than  that  formerly  enjoyed  by 
the  Leipzig  organization.  In  1892  he  was 
honored  with  the  Norwegian  Order  of  St. 
Olaf;  in  1902  Victoria  Univ.  conferred  upon 
him  the  degree  of  Mus-  Doc.  (hon.  c).     He 


119 


BROEKHOVEN— BROUILLON 


was  on  intimate  terms  with  Grieg,  Tchaikov- 
sky and  Brahms;  the  last  two  met  each  other 
for  the  first  time  at  B.'s  house  in  Leipzig. — 
B.  draws  a  beautiful,  large  tone,  and  im- 
presses by  grandeur  of  conception. 

Broek'hoven,  John  A.,  b.  Beek,  Holland, 
1852.  Prof,  of  harm,  and  comp.,  Cincinnati 
Coll.  of  Mus. — Works:  Suite  crSole  f.  orch.; 
grand  overture  Columbia  f.  orch. 

Bron'sart  von  Schellendorf ,  Hans  [Hans 
von  Bronsart],  b.  Berlin,  Feb.  11,  1830;  d. 
Munich,  Nov.  3,  1913.  Student  at  Berlin 
Univ.,  1849-52.  also  taking  lessons  in  theory 
from  Dehn,  ana  on  the  piano  from  Kullak;  st. 
with  Liszt  at  Weimar  for  some  years;  gave 
pf.-concert9  in  German  capitals,  Paris,  and 
Petrograd;  conducted  the  'Euterpe'  in  Leip- 
zig (1860-2),  and  the  'Gesellschaft  d.  Musik- 
freunde'  in  Berlin  (1865-6,  succeeding  von 
Biilow);  in  1867  was  app.  intendant  of  the 
R.  Th.  at  Hanover,  and  1887  'Hofmusikin- 
tendant*  at  Weimar.  He  retired  in  1895  with 
the  title  'Wirklicher  Geheimrat,'  and  after 
that  devoted  himself  entirely  to  composition. 
— Works:  Opera,  Der  Corsar  (MS.);  Cantata 
Christnacht;  symphony  with  chorus,  In  den 
Alpen;  symphony  No.  2,  also  with  chorus, 
Schick  sals gcwalten;  Manfred,  dramatic  tone- 
poem  in  5  tableaux  (1901);  Fruhlingsfantasie 
for  orch.;  a  string-sextet ;  a  pf. -concerto  in  F# 
m.;  a  pf.-trio  in  G  m.;  a  Fantasia,  and 
other  solo  pieces  for  pf. 

Bron'sart,  Ingeborg  von  (nSe  Starck), 
wife  (since  1862)  of  preceding;  b.  (of  Swedish 
parents)  Petrograd,  Aug.  24,  1840;  d.  Mu- 
nich, June  17.  1913.  Pianist,  pupil  of  Liszt, 
and  a  talented  composer;  4  operas,  Die  Gottin 
zu  Sais;  Konig  Hjarne  (Berlin,  1891);  Jery 
und  Bdteli  (Weimar,  1873);  Die  Suhne  (Des- 
sau, 1909);  also  interesting  pf. -music  (con- 
certos, sonatas,  fugues,  etudes,  salon-pieces, 
etc.),  vln.-music,  pieces  for  'cello,  songs,  etc. 

Brooks,  Walter  William,  b.  Ed  gb  as  ton, 
England,  March  19,  1861.  Chorister  in  St. 
Martin's  Ch.;  pupil  of  King  Edward's  School, 
and  won  first  place  in  all  England  for  theory 
of  music  in  the  Oxford  local  exams.;  1877-81, 
pupil  of  Prout  at  the  R.  A.  M.,  then  settling 
in  London.  Since  1889,  teacher  of  pf.  and 
voice  at  the  Wm.  Ellis  Endowed  School.  Has 
written  for  the  'Monthly  Musical  Record,' 
which  he  edited  for  a  time,  'Mus.  Opinion,' 
and  the  London  'Figaro.' — Works:  Allegro 
for  orch.  (prize  at  Belfast,  1891);  pieces  for 
vln.  and  pf.  (op.  14,  48,  50);  pf. -pieces  (Pre- 
lude and  Fugue;  The  Family  Circle,  12  char- 
acteristic pieces;  6  Progr.  Studies);  songs 
and  part-songs. 

Broome,  William  Edward,  b.  Man- 
chester, England,  1868.  Pupil  for  piano  and 
organ  of  Dr.  Roland  Rogers  at  Bangor  Cathe- 
dral, Wales,   1876-90;  chieBy  self-taught  in 


theory  and  composition.  Asst  .-organist  of 
Bangor  Cath.,  and  organist  of  St.  Mary's  at 
Bangor,  1883-90;  cond.  of  B.  Choral  Society, 
also  (1893)  of  Penrhyn  Male  Chorus  (60  men) 
at  their  visit  to  the  Chicago  World's  Fair. 
From  1894-1905,  organist  in  Montreal;  since 
then,  organist  of  the  Baptist  church  in  To- 
ronto. As  a  composer  B.  has  won  8  medals 
and  money-prizes  at  Welsh  National  Festi- 
vals, the  last  being  £50  for  the  dramatic  can- 
tata The  Siege  of  Cardiff  Castle  (1908).  Has 
publ.  much  church-music,  a  recent  and  not- 
able work  beine  A  Hymn  of  Trust  for  ch.  and 
orch. — B.  is  Mus.  Doc.  by  examination  of 
Trinity  Univ.,  Toronto.  He  is  a  senior  on  the 
staff  of  the  Toronto  Cons,  of  Music;  special- 
ist in  voice-training  (pupil  of  Claude  Trevor 
in  Florence)  and  choral  conducting. 
Bros'chi  [-ke],  Carlo.    See  Farinelli. 

Broslg,  Moritz,  prolific  church-composer; 
b.  Fuchswinkel,  Upper  Silesia,  Oct.  15,  1815; 
d.  Breslau,  Jan.  24,  1887.  Pupil  of  Franz 
Wolf,  the  musical  director  and  cath.  organist 
at  Breslau,  and  succeeded  him  in  1842;  in 
1853,  cathedral  Kapellm.,  and  received  the 
honorary  degree  of  Ph.  D.;  became  asst.- 
director  of  the  R.  Inst,  for  Catholic  Ch.- 
Music,  and  University  lecturer. — Works:  4 
grand  and  3  short  instrumental  masses;  7 
books  of  graduals  and  offertories;  20  books 
of  organ-pieces;  an  Orgelbucht  a  Choralbuch,  a 
Modulationstheorie,  and  a  Harmonielehre 
(1874;  4th  ed.  1899  as  Handbuch  d.  Har- 
monielehre u.  Modulation,  ed.  by  Thiel);  also 
Vber  die  alien  Kirchenkompositionen  u.  ihre 
Wiedereinfuhrung  (1880). 

Broaaard  l-sahr'],  NoBl-Matthleu,  b. 
Chalons-sur-Sa6ne,  Dec.  25,  1789;  d.  there 
(after  1853)  as  magistrate.  Wrote  Thiorie  des 
sons  musicaux  (Paris,  1847),  a  treatise  on  the 
variability  of  tones  according  to  modulation 
(he  reckons  48  distinct  tone-degrees  within 
the  octave) ;  also  minor  works. 

Brossard,  Sebastien  de,  b.  1654;  d. 
Meaux,  France,  Aug.  10,  1730.  In  1689, 
Kapellm.  at  Strassburg  cathedral;  1700-30, 
'grand  chapelain'  and  'mattre  de  musique'  at 
Meaux  cathedral.  Famous  as  the  author  of 
the  earliest  dictionary  of  musical  terms  (ex- 
cept Tinctor's  Definitorium  [circa  1475],  and 
Janowka's  Clavis  ad  thesaurum  magnae  artis 
musicae,  etc.  [1703],  to  neither  of  which  he 
had  access,  however).  Its  title  reads  Diet,  de 
musiqus,  contenant  une  explication  des  tertnes 
grecs,  latins,  ilaliens  et  francais  les  plus  usites 
dans  la  musique,  etc.  (Paris,  1703;  2d  ed. 
1705;  3d  and  last,  no  date).  He  also  publ. 
a  considerable  variety  of  church-music. — Cf. 
Michel  Brenet,  S.  de  B.,  d'apres  des  papier s 
inedits  (Paris,  1896).— See  Q.-Lex. 

Brouillon-Lacombe  [broo-y&hn'lah- 
kdhnb'].    See  Lacombe, 


120 


BROUNOFF— BRUCH 


Brou'noff ,  Platon  G.,  composer  and 
pianist;  b.  Elizabethgrad,  Russia,  May  10, 
1869.  Graduate  of  Warsaw  Mus.  Inst,  and 
Petrograd  Imp.  Cons.;  pupil  of  Anton  Rubin- 
stein and  Rimsky-Korsakov.  Lecturer  for  B. 
of  Education,  N.  Y.,  since  1900;  lectures  on 
Russian  music  throughout  United  States; 
conductor  of  'The  Modern  Symph.  Orch.\ 
'Russian  Choral  Soc.,'  and  'Peoples'  Male 
Chorus.' — Works:  Ramona,  opera  in  3  acts 
(not  perf.);  Angel,  cantata  for  2  solo  voices, 
ch.  and  orch.;  The  Glory  of  God,  oratorio; 
'Titanic'  Symphony;  Russia,  symphonic  poem 
for  orch.;  Russian  Village,  suite  for  orch.; 
pf. -pieces;  songs. 

Broustet  [broo-sta'],  ltdouard,  pianist;  b. 
Toulouse,  April  29,  1836;  pupil  of  Stamaty, 
Litolff  and  Ravina.  After  tours  to  Petrograd, 
and  to  Spain  and  Portugal,  he  settled  in 
Toulouse. — Works:  Symphonie  concertante  for 
pf.  and  orch.;  pf. -concerto;  3  pf. -trios;  1  pf.- 
quintet;  solo  pieces  for  pf.;  etc. 

Brown,  James  Duff,  b.  Edinburgh,  Nov. 
6,  1862;  from  1888,  librarian  of  the  Clerken- 
well  Library  at  London.  Author  (w.  Stephen 
S.  Stratton)  of  British  Musical  Biography:  A 
Dictionary  of  Musical  Artists,  Authors  and 
Composers  born  in  Great  Britain  and  its  Colo- 
nies (1897;  pp.  462),  a  very  valuable  work  of 
reference,  for  facts  without  critical  comment. 
Also  publ.  Biogr.  Diet,  of  Musicians  (1886); 
Guide  to  the  Formation  of  a  Music  Library 
(1893);  Characteristic  Songs  and  Dances  of  All 
Nations,  with  historical  notes  and  a  biblio- 
graphy (19QX),andSubject  Classification  (1908). 

Brown,  (Dr.)  John,  b.  Rothbury,  North- 
umberland, 1715;  d.  by  his  own  hand  (insane), 
Sept.  23, 1766.  He  studied  at  Cambridge,  ana 
became  vicar  of  Great  Horkesley,  Essex,  in 
1754,  and  of  St.  Nicholas',  Newcastle,  in  1758. 
Author  of  an  interesting  and  original  Dis- 
sertation on  the  Rise,  Union,  and  Power,  the 
Progressions,  Separations  and  Corruptions  of 
Poetry  and  Music,  to  which  is  prefixed  The 
Cure  of  Saul,  A  Sacred  Ode  (London,  1763; 
German  transl.,  Leipzig,  1769;  Italian  transl., 
1772).  It  was  followed  by  Remarks  on  some 
observations  on  Dr.  Brown's  'Dissertation,' 
etc'  (London,  1764). 

Browne,  John  Lewis,  organist,  composer; 
b.  London,  May  18,  1864.  Until  1883,  pupil 
of  his  father,  Wm.  Browne,  noted  org.;  then 
of  S.  P.  Warren  (1884)  and  F.  Archer  (1887). 
Organist  Holy  Name  Cathedral  in  Chicago 
(1888);  org.  and  cond.  of  symph.  concerts  in 
San  Francisco  (1892-98);  organist  Sacred 
Heart  Ch.,  Atlanta  (1899-1907);  also  cond. 
of  symphony  orch.  there;  mus.  director  at 
John  Wanamaker's,  Phila.  (1908-10);  since 
1912,  org.  and  ohm.,  St.  Patrick's  and  Our 
Lady  of  Sorrows  Ch.,  Chicago;  appeared  at 
Royal  Academy  of  St.  Cecilia,  Rome  (1901). 


Gave  over  500  concerts  in  Phila.;  toured 
U.  S.;  designed  organ  for  Medinah  Temple, 
Chicago,  and  inaugurated  it  with  the  first 
perf.  of  Borowski's  Allegro  de  Concert  for 
organ  and  orch.,  written  especially  for  the 
occasion.  Elected  member  of  R-  Philh. 
Academy  at  Rome  in  1914. — Works:  Opera 
La  Corsicana  (N.  Y.,  1903;  received  'non. 
mention'  in  Sonzogno  competition  of  1902); 
Ode,  The  Granite  Walts  Rise  Fair  (1911); 
Ecce  Sacerdos  Magnus  (Vatican,  Rome, 
1912);  Missa  Solemnis  (1913);  many  songs; 
organ-pieces;  pf. -pieces;  etc. 

Bruch,  Max,  dramatic,  choral  and  instru- 
mental composer,  and  pianist;  b.  at  Cologne, 
Jan.  6,  1838.  His  mother  (ne'e  Almenraaer), 
a  singer,  was  his  first  instructor.  He  after- 
wards studied  with  Breidenstein  at  Bonn.  In 
1853  he  won  the  four-year  scholarship  of  the 
Mozart  Foundation,  at  Frankfort,  and  be- 
came a  pupil  of  Ferdinand  Hiller.  Reinecke 
and  Breuning.  At  14  years  of  age  he  brought 
out  a  symphony  at  Cologne,  and  in  1858,  in 
the  same  city,  produced  his  first  dramatic 
work,  Goethe's  'SingspieT  Schert,  List  und 
Roche  (op.  1).  In  1861  he  visited  Berlin. 
Leipzig,  Vienna,  Dresden,  Munich,  and 
Mannheim,  where  he  remained  until  1864, 
producing  an  opera,  Loreley  (1863;  op.  16), 
composed  to  the  libretto  Geibel  had  written 
for  Mendelssohn.  Here  he  also  composed  his 
choral  work  for  men's  voices,  Frithjof,  which, 
on  a  tour  in  1864-5,  was  given  with  genuine 
artistic  and  popular  success  at  Aix,  Leipzig 
and  Vienna.  At  Koblenz  (1865-7)  he  wrote 
his  first  violin-concerto  (G  min.),  a  favorite 
with  all  violinists.  In  Berlin,  where  he  resided 
1871-3,  he  produced  in  1872,  with  but  scanty 
success,  his  opera  Hermione,  based  on  Shake- 
speare's Winter's  Tale.  From  1873-S,  with 
the  exception  of  two  artistic  journeys  to  Eng- 
land, he  remained  at  Bonn,  devoting  himself 
to  composition  and  producing  the  two  choral 
works  Arminius  (1875)  and  Das  Lied  von  der 
Glocke  (1878),  and  the  second  violin-concerto 
in  D  min.  In  1883  Bruch  visited  the  United 
States,  and  brought  out  his  Arminius  at 
Boston.  ^  Bruch 's  chief  claim  to  distinction 
lies  in  his  development  of  the  epic  cantata 
(frequently  called  'weltliches  Oratorium'  [secu- 
lar oratorio]),  a  branch  of  composition  to 
which  comparatively  little  attention  had  been 
paid.  Among  his  works  in  this  line  for  soli, 
mixed  ch.  and  orch.,  are  Odysseus,  Arminius, 
Lied  von  der  Glocke,  Achilleus;  and,  for  male 
chorus,  Frithjof,  Salamis,  Normannentug  and 
Leonidas.  ^  Beautiful  sound-effects  and  clear 
melodious  invention  are  prominent  character- 
istics of  his  style.  Among  his  smaller  works, 
Kol  Nidrei,  a  Hebrew  melody  for  violoncello, 
has  become  popular. 

Bruch  practised  as  a  music-teacher  at  Co- 
logne 1858-61,  was  musical  director  at  Ko- 


121 


BRUCH— BRUCH 


blenz  1865-7,  and  court  Kapellm.  at  Sonders- 
hausen  1867-70.  In  1878  he  succeeded  Stock- 
hausen  as  conductor  of  the  Stern  Choral 
Union;  from  188CK3  he  was  conductor  of  the 
Philh.  Society,  Liverpool;  in  1883  he  succ. 
Bernhard  Scholz  in  the  direction  of  the  Or- 
chestral Soc.  at  Breslau.  He  remained  in  Bres- 
lau  until  1890,  and  in  1892  he  succeeded  von 
Herzogenberg  as  director  in  the  branch  of 
composition  at  the  Royal  Hochschule  in 
Berlin,  with  the  title  of  R.  Prof.  In  1910 
he  retired,  and  has  since  been  living  in  Frie- 
denau,  near  Berlin.  In  1881  he  married  the 
singer  Klara  Tuczek.  The  Univ.  of  Cam- 
bridge conferred  upon  him  in  1893  the  degree 
of  Mus.  Doc.  (hon.  c);  in  1898,  the  French 
Academy  elected  him  corresp.  member;  in 
1908  he  received  the  Prussian  'Ordre  pour  le 
mGrite,'  for  Arts  and  Sciences. 

Works  with  Opus  Number 

1.  Scherz.  List  und   Roche,  1-act  comedy-opera. 
Text  after  Goethe. 

2.  Caprice io  for  pf.  4  hands. 

3.  Jubilate.  Amen,  for  S.  solo,   mixed  ch.   and 
orch.  Poem  by  Moore. 

4.  3  duets  for  S.  and  A.,  with  pf. 

5.  Trio  for  pf..  vln.  and  'celio  (C  m.). 

6.  7  little  2-  and  3-part  songs  for  women's  voices, 
with  pf. 

7.  6  songs  with  pf. 

8.  Die  Birken  una  die  Erie*,  for  S.  solo.  ch.  and 
orch.  Poem  by  Pfarrius. 

9.  Quartet  for  2  vlns..  via.  and  'cello  (C  m.). 

10.  Quartet  for  ditto  vE). 

11.  Phantasie  for  2  pfs.  (D  m.). 

12.  6  piano-pieces. 

13.  Hymnus:  Dem,  der  von  N&chten,  f.  S.  solo.  w.  pf. 

14.  2  piano-pieces  (Romanze,  PhantasiestfUk). 

15.  4  songs  with  of. 

16.  Die  Lareley.    Grand  romantic  opera  in  4  acts. 
Text  by  Geibel. 

17.  10  songs  with  pf. 

18.  4  9ongs  for  Bar.  with  pf. 

19.  4  male  choruses  with  orch. 

20.  Die  Flucht  der  heiligen  Familie,  for  mixed  ch. 
with  orch. 

21.  Gesang  der  heiligen  drei  Konige,  for  3  men's 
voices  with  orch. 

22.  (Unpublished.) 

23.  Frithjof,  for   Bar.  and  S.  soli,  male  ch.   and 
orch.     Text  by  Tegner. 

24.  Schbn  Ellen,  Ballade  for  S.  solo,  mixed  ch.  and 
orch.     Text  by  Geibel. 

25.  Salamis,  for  soli  (T.  I,  II;  B.  I.  II).  male  ch. 
and  orch.     Text  by  Lingg. 

26.  First  concerto  for  vln.  with  orch.  (C»  m.). 

27.  Frithjof  auf  seines  Vaters  Grabhugel.    Concert- 
scene  for  Bar.  solo,  female  ch.  and  orch. 

28.  First  symphony  for  orch.  (Eb). 

29.  Rvrate  c<tli,  for  mixed  ch..  orch.  and  organ. 

30.  Die  Priesterin   der   Jsis   in   Rom,   for  A.  solo 
with  orch.  ,  , 

31.  Die  Flucht  naeh  Egypten,  for  S.  solo,  female 
ch.  and  orch.    Text  by  R.  Reinick. 

32.  Normannenzug,  for  Bar.  solo,  unison  male  ch. 
and  orch.    Text  by  Scheffel. 

33.  4  songs  with  pf..  for  Bar. 

34.  Rdmische  Leichenfeier,  for  mixed  ch.  with  orch. 

35.  Kyrie,  Sanctus  and  Agnus  Dei,  for  double  ch., 
2  S.  soli,  orch.  and  organ. 

36.  Second  symphony  for  orch.  (F  m.). 

37.  Dtis  Lied  vom  deutschen  Kaiser,  for  mixed  ch. 
with  orch.  • 

38.  5  songs  for  mixed  ch.  a  cappella. 

39.  Diihvrambe,  for  T.  solo.  6-part  ch.  and  orch. 
Text  by  Schiller. 


40.  Hermione.     Grand  opera  in  4  acts.    Text  by 
E.  Hopffner.  after  Shakespeare's  Winter's  Tale. 

41.  Odysseus,  for  soli,  ch.  and  orch.  Text  by 
W.  Paul  Graff. 

42.  Romanze  for  violin  with  orch. 

43.  Arminius,  oratorio  for  soli,  ch.  and  orch. 
Poem  by  J.  Cuppers. 

44.  Second  concerto  for  violin  with  orch.  (D  m.). 

45.  Das  Lied  von  der  Glocke,  for  soli,  ch.,  orch.  and 
organ.    Poem  by  Schiller. 

46.  Fantasie  for  violin  with  orch.  and  harp. 

47.  Kol  Nidrei.  Adagio  for  'cello  with  orch.  and 
harp,  on  Hebrew  melodies. 

48.  4  male  choruses  a  cappella. 

49.  7  Lleder  und  Gesange  with  pf. 

50.  Achilleus,  for  soli.  ch.  and  orch.  Poem  by 
Bulthaupt. 

51.  Third  symphony  for  orch.  (E). 

52.  Das  Feuerkreuz.  dramatic  cantata  for  soli,  ch. 
and  orch.  (organ  ad  lib.).    Poem  by  Bulthaupt. 

53.  2  male  choruses. 

54.  6  Lieder  und  Gesdnge  with  pf .  and  vln.  (Heyse). 

55.  Canzone  for  'cello  with  orch.  (or  pf.). 

56.  Adagio  (on  Celtic  themes)  for  'cello  with  orch. 

57.  Adagio  appassionato  for  'cello  with  orch. 

58.  Third  concerto  for  violin  with  orch.   (D  m.). 

59.  5  songs  for  Bar.  with  pf. 

60.  9  songs  for  mixed  ch. 

61.  Ave  Maria.  KonzertstQck  for  'cello  with  orch. 

62.  Gruss  an  die  heilige  Nacht,  for  A.  solo.  ch.. 
orch.  and  organ. 

63.  Swedish  Dances  for  vln.  and  pf. 

64.  Hymn,  for  soli,  mixed  ch.,  orch.  and  organ. 

65.  In  Memoriam.    Adagio  for  vln.  with  orch. 

66.  Leonidas,  for  Bar.  solo,  male  ch.  and  orch. 
Poem  by  Bulthaupt. 

67.  Moses.  Oratorio  for  soli,  ch.,  orch.  and  organ. 
Text  by  Ludwig  Spitta. 

68.  3  'new'  male  choruses  w.  orch.  (Seerduber- 
lied;  Psalm  23;  Kriegsgesang) . 

69.  Sei  getreu  bis  in  den  Tod,  for  5-part  ch.  w.  org. 

70.  4  pieces  for  'cello  with  pf. 

71.  7  songs  for  mixed  chorus. 

72.  In  der  Nacht.  Choral  song  for  A.,  T.  I  &  II.  B. 

73.  Gustav  Adolf,  for  soli,  ch.,  orch.  and  organ. 

74.  .  Her  tog  Moritz,  warsongs  for  male  chorus. 

75.  Serenade  for  violin  with  orch. 

76.  Der  Utile  Absehied  des  Volkes  (1888),  for  male 
ch.,  orch.  and  organ. 

77.  (Unpublished.) 

78.  Damajanti,  from  the  Hindu  poem  Nala  und 
Damajanti,  for  S.  solo.  ch.  and  orch. 

79.  Songs  and  Dances  for  violin  with  pf.  (on 
Russian  and  Swedish  folk-tunes). 

80.  Szene  der  Marfa,  for  M.-S.  solo  with  orch. 
(from  Schiller's  Demetrius). 

81.  Osterkantale  for  S.  solo,  mixed  ch.,  orch.  and 
organ. 

82.  Das  Wessohrunner  Gebet,  for  mixed  ch.  with 
orch.  and  organ  (arranged  from  male  ch.  in  op.  19). 

83.  8  trios  for  pf..  vln.  and  'cello  (or  3  clarinets). 

84.  Konzrrtsttick  for  violin  and  orch. 

85.  Romanze  (in  F)  for  violin  and  orch. 

86.  Seths  Lieder  for  mixed  chorus. 

87.  Die  Macht  des  Gesanges  (Schiller),  for  Bar. 
solo,  ch.,  orch.  and  organ. 

88.  Konzert  fur  2  Klaviere  und  Or  Chester. 

89.  Heldenfeier,  for  chorus  and  orch. 

Without  Opus-Number 

Dem  Kaiser,  for  male  ch.  with  orch.     Poem  by  Lflders. 
Denkmale  des  Volksgesanges.     Folk-songs  of  all  na- 
tions, set  for  4  parts. 

Hebr&isrhe  Gesange.  for  ch..  orch.  and  org.  (ad  lib.). 
Folk-songs  of  Wales  and  Scotland,  for  male  chorus. 
Vom  Rhein.  for  4-part  male  ch.  Poem  by  Bodenstedt. 
12  Scotch  folk-songs  for  solo  voice,  pf  .-accomp.  added. 

Bruch,  Wilhelm,  b.  Mayence,  June  14, 
1864;  a  distant  relative  of  the  preceding. 
While  preparing  for  the  legal  profession  he 
studied  at  the  same  time  at  the  Leipzig  Cons. ; 


122 


BRUCK—  BRUM  EL 


was  theatre-conductor  at  Strassburg;  cond. 
of  the  Scottish  Orchestra  at  Edinburgh;  now 
(1916)  conductor  of  the  Philharmonic  Orch. 
in  Nuremberg.  Has  composed  two  operas, 
Hirlanda  (Mayence,  1886),  and  Das  Winzer- 
fest  am  Khein  (Nuremberg,  1903). 

Brack  (or  Brouck),  Arnold  von,  con- 
jecturally  a  German  Swiss;  d.  1545.  In  1534, 
Kapellra.  to  Kaiser  Ferdinand  I.  Eminent 
composer,  many  of  whose  motets,  hymns,' 
German  part-songs,  etc.,  are  preserved  in 
collections  of  the  16th  century. 

Briick'ler,  Hugo,  b.  Dresden,  Feb.  18, 
1845;  d.  there  Oct.  4,  1871.  Gifted  song- 
composer. — Works:  Op.  1  and  2,  songs  from 
Scheffel's  Trompeier  von  Sdkkingen  (1,5  songs 
of  Young  Werner  by  the  Rhine;  2,  Margaret's 
Songs) ;  also  Sieben  Ges&nge  and  a  ballad,  Der 
Vogt  von  Tenneberg. — Posth.:  Nordmdnner- 
sang,  and  Marsch  der  Biirgergarde.  (See 
Musiol's  monograph,  H.  B.) 

Bruck'ner,  Anton,  b.  Ansfelden,  Upper 
Austria,  Sept.  4,  1824;  d.  Vienna,  Oct.  11, 
1896.  Organist,  composer,  and  teacher.  Son 
of  a  village  schoolmaster,  early  orphaned, 
and  chiefly  self-taught,  he  became  by  diligent 
study  and  practice  so  remarkably  able  an 
organist  ana  contrapuntist  as  to  obtain,  in 
1855,  the  appointment  as  cathedral  organist 
at  Linz-on-Danube,  in  competition  with 
many  rivals.  As  opportunity  offered,  he  st. 
comp.  with  O.  Kitzler,  and  cpt.  with  Sechter; 
in  1867  he  succeeded  Sechter  as  court-organist 
at  Vienna,  also  as  prof,  of  organ,  harm,  and 
cpt.  at  Vienna  Cons.;  in  18/5  he  was  also 
app.  'Lektor'  of  music  at  Vienna  Univ.;  in 
1891  the  Univ.  gave  him  the  title  of  Ph.  D. 
(hon.  c).  Journeys  to  France  (1869)  and 
England  (1871)  established  his  fame  as  one 
of  the  greatest  of  contemporary  org.- virtuosi. 
His  compositions,  in  which  Wagner's  influ- 
ence is  strongly  felt,  include  9  symphonies: 
1st,  C  m.;  2nd,  C  m.;  3rd,  D  m.;  4th  (Ro- 
mantic), Eb;  5th,  Bb;  6th,  A;  7th  (with  lovely 
adagio),  E;  8th,  C  m.;  9th  (unfinished);  a  fine 
Te  Deum  (1886,  Vienna);  Grand  Masses  in 
D  m.,  E  m.,  and  F  m.;  a  Requiem,  Graduate, 
Offertories,  Psalms;  Germanenzug,  for  male 
chorus;  several  other  works  for  ditto;  cham- 
ber-music; string-quintet  in  F;  etc.  His 
music  seems,  in  general,  lacking  in  inspiration 
and  individuality.     A  list  of  nis  works  was 

gublished  by  Doblinger. — Biography:  F. 
runner,  B.  (Linz,  1895);  R.  Louis,  A.  B. 
(Munich,  1905);  Leo  Funtek,  Bruckneriana 
(Leipzig,  1910);  F.  Graeflinger,  A.  B.  Bau- 
steine  zu  seiner  Lebensgeschichte  (Munich, 
1911);  M.  Morold,  A.  B.  (Leipzig,  1912); 
A.  Hahn,  Die  Symphonic  A.  B.'s  (1914). 
Letters  of  B.  are  contained  in  F.  Graeflinger's 
Karl  Waldech  (Linz,  1905). 


Bruck'ner,  Oscar,  excellent  'cellist;  b. 
Erfurt,  Jan.  2,  1857.  Pupil,  at  Dresden,  of 
Fr.  Griitzmacher,  Sr.,  and  Draeseke  (theory). 
After  tours  in  Germany,  Russia,  Poland  and 
Holland,  he  was  app.  ducal  chamber- virtuoso 
at  Strelitz;  since  1889, 1st  'cello  at  the  R.  Th., 
Wiesbaden,  and  teacher  in  the  Cons.  In 
1896  he  received  the  title  of  'R.  Concert- 
meister';  in  1908,  of  'R.  Professor.'— Works: 
Soli  for  'cello;  pf. -music,  songs,  etc. 

Bruhng,  Nikolaua,  b.  Schwabstadt,  Schles- 
wig,  1665;  d.  Husum,  1697.  Organist,  pupil 
of  Buxtehude  at  Lubeck,  on  whose  recom- 
mendation he  was  app.  organist  at  Copen- 
hagen. He  was  also  a  violinist,  and  composed 
for  organ  and  pf.  (Three  fine  organ-pieces 
are  in  vol.  i.  of  Commer's  'Musica  Sacra.') 

Brull,  Ignaz,  b.  Prossnitz,  Moravia,  Nov. 
7,  1846;  d.  Vienna,  Sept.  17,  1907.  Pupil,  at 
Vienna,  of  Epstein  (pf.),  Rufinatscha  (comp.), 
and  Dessoff  (instrumentation).  After  giving 
pf. -recitals  and  concerts  of  his  own  composi- 
tions he  made  extended  pianistic  tournees, 
and  then  settled  in  Vienna,  where  from  1872-8 
he  was  pf.-prof.  at  the  Horak  Institute.  In 
1878  he  played  in  20  concerts  at  London. 
His  first  opera,  Die  BetUer  von  Samarkand 
(1864),  was  not  specially  successful;  but  the 
second,  Das  golaene  Kreuz  (Berlin,  1875), 
speedily  attained  great  popularity  both  in 
Germany  and  abroad;  it  was  followed  by 
Der  Landfriede  (Vienna,  1877),  Bianca  (Dres- 
den, 1879),  Konigin  Mariette  (Munich,  1883), 
Gloria  (Hamburg,  1886),  Das  steinerne  Herz 
(Vienna,  1888),  Gringoire  (1-act,  Munich, 
1892),  Schach  dem  Konig  (Munich,  1893), 
and  a  2-act  comic  opera  Der  Husar  (Vienna, 
March  2,  1898;  very  succ). — Other  works: 
The  ballet  Ein  Mdrchen  aus  der  Champagne 
(1896);  Ouverture  pathetique,  for  orch.;  Tm 
Walde  (Jagdouverture)  for  orch.;  3  serenades 
for  do.;  overture  to  Macbeth;  Tanz-Suite  for 
orch.;  2  pf-concertos;  Konzertstuck  for  pf. 
and  orch.,  op.  88;  Rhapsodie  for  ditto;  1  vln.- 
concerto;  suite  for  pf.  and  vln.;  Trio;  sonata 
for  'cello  and  pf.;  do.  for  2  pfs.  4  hands;  ditto 
for  vln.  and  pf.;  4  suites  for  piano,  2  hands; 
pf  .-pieces;  part-songs,  songs,  etc.  Among  his 
literary  remains  were  found  a  Dramatische 
Ouverture,  and  fragments  of  an  opera,  RubezahL 

Brumel,  Anton,  Flemish  contrapuntist; 
b.  circa  1480;  d.  circa  1520.  Lived  at  the 
court  of  Sigismund  Cantelmus,  Duke  of  Sora; 
in  1505  he  took  service  with  Alfonso  I,  Duke 
of  Ferrara.  Many  of  his  masses  are  found  in 
old  collections;  others  are  in  MS.  at  Munich, 
etc.  Henri  Expert  publ.  the  mass  De  beata 
Virgine  in  vol.  ix  of  'Maitres  Musiciens';  in 
Maldeghem's  'Tresor'  are  some  other  pieces. 
— Cf.  vol.  vi  of  'La  Musique  aux  Pays-Bas,' 
by  Van  der  Straeten. — See  Q.-Lex. 


123 


BRUNE— BUCHHALTER 


Bru'ne,  Adolf  Gerhard,  b.  Bakkum, 
n.  Hanover,  June  21,  1870.  Received  his  first 
instruction  from  his  father  (pf.);  then  studied 
organ  at  the  Teacher's  Seminary  in  Osna- 
briick  with  E.  Brennecke;  came  to  the  U."  S. 
in  1889,  and  was  5  years  organist  in  Peoria, 
111.;  settled  in  Chicago  in  1894,  studying  with 
E.  Liebling  (pf.)  and  B.  Ziehn  (comp.);  since 
1898,  teacher  of  pf.  and  comp.  at  Chicago 
Mus.  Coll. — Works:  3  symphonies  (E,  E  m., 
D);  2  symph.  poems,  Liea  des  Singschwans 
and  Evangeline;  Symphonic  Fantasy  in  C; 
Variations  on  a  theme  by  Beethoven;  4  over- 
tures; Suite  for  string-orch.;  Jerusalem,  can- 
tata for  mixed  voices  and  orch.;  Sangers 
Fluch,  for  male  voices  and  orch.;  Saxons* 
War  Song,  ditto;  2  concertos  for  pf.  and 
orch.  (C  m.,  F  m.);  ditto,  for  org.  and  orch. 
(Eb  m.);  6-part  mass  in  E  m.f  a  capp.;  Psalm 
84,  for  10  voices;  6  choruses  (canons)  for 
female  voices;  5  string-quartets;  2  string- 
quintets;  1  pf. -quartet;  1  pf.-trio;  organ- 
works  (Fantasie,  PassacagKa,  Fugue,  Suite, 
etc.);  pf. -pieces  (2  suites,  2  ballads,  varia- 
tions on  a  theme  by  Bach,  etc.) ;  about  50  songs. 

Bruneau  [brtt-noh'],  (Loui8-Charles-Bk>- 
naventure-)  Alfred,  b.  Paris,  March  3, 1857; 
entered  Cons.,  1873,  pupil  of  Franchomme; 
1st  'cello  prize,  1876;  also  studied  harmony 
(1876-9)  with  Savard,  and  comp.  with  Mas- 
senet; prize,  1881,  with  cantata  Sainte-Gene- 
vieve.  Mus.  critic  for  'Gil  Bias,'  1892-5;  then 
for  'Le  Figaro';  now  (1916)  for  'Le  Matin'; 
1903-4,  first  cond.  at  Opera-Comique;  app. 
member  of  the  'Conseil  Superieur'  at  the 
Cons,  in  1900;  successor  of  Reyer  in  1909  as 
Inspector  of  mus.  instruction.  He  has  made 
extensive  tours  of  Russia,  England,  #  Spain, 
and  the  Netherlands,  conducting  his  own 
works.  Made  'chevalier'  of  the  'Legion 
d'Honneur'  in  1895;  'officier'  in  1904;  'Com- 
mandeur  de  St.-Charles'  in  1907.— Works: 
The  operas  Ktrim  (Opera- Populaire,  1887); 
Le  Rhe  (Op.-Comique,  1891);  VAttaque  du 
Moulin  (Op.-C,  1893;  N.  Y.,  1910);  Messi- 
dor  (Grand  Opera,  1897);  VOuragan  (Op.-C, 
1901);  V Enfant  Roi  (Op.-C,  1905);  Nats 
Micoulin  (Monte  Carlo,  1907);  La  Faute  de 
VAbbe  Mouret  (Odeon,  1907);  the  ballets 
VAmoureuse  lecon  (Th.  des  Arts,  1913);  Les 
Bacchants  ([after  Euripides],  Gr.  Op.,  1913); 
and  an  'episode  lyrique,'  Le  Tambour  (Op.-C, 
1916).  Other  works:  Ouverture  heroique; 
Ledat  lyric  scene;  La  Belle  au  Bois  dormant, 
symph.  poem;  Penthesilee,  symph.  poem,  with 
ch.;  a  requiem;  Lieds  de  France  (poems  by 
C  Mendes);  Chansons  &  danser  (do.);  Les 
Chants  de  la  Vie  (poems  by  Saint-Georges 
de  Bonnelier,  H.  Bataille,  F.  Gregh);  pieces 
for  various  combinations  of  string  and  wind- 
instrs. — Also  noteworthy  as  a  writer:  Musique 
d'kier  et  de  demain  (1900);  La  Musique  fran- 
chise (1901;  transl.  into  German  by  M.  Graf 


in  'Die  Musik,'  Berlin,  1904);  Musique  de 
Russie  et  musiciens  de  France  (1903). — 
Cf.  A.  Hervey,  A.  B.  (in  'Living  Masters  of 
Music,'  London,  1907)  and  O.  Sere  in  Musi- 
ciens d'aujourd'hui  (Paris,  1911). 

Brunei  11,  Antonio,  m.  di  capp.  to  the 
Duke  of  Florence,  publ.  (1605-21)  motets, 
canzonette,  madrigals,  etc.;  also  a  treatise, 
Regole  e  dichiarazioni  di  alcuni  conirappunti 
dotopt,  ....  con  diversi  canoni  sopra  un 
sol  canto  fermo  (Florence,  1610),  a  curious 
work. — See  Q.-Lex. 

Brunet'tl,  Gaetano,  b.  Pisa,  1753;  d. 
Madrid,  1808.  PupiLof  Nardini,  and  protege 
of  Boccherini,  whom  he  rewarded  with  in- 
gratitude. Court' musician  to  Charles  IV  of 
Spain. — Works:  32  symphonies,  5  concerted 
symphonies  for  various  instruments,  6  sex- 
tets, 32  quintets,  etc.,  mostly  in  MS. 

Bru'ni,  Antonio  Bartolommeo,  violinist 
and  dramatic  composer;  b.  Coni,  Piedmont, 
Feb.  2,  1759;  d.  there  1823.  Pupil  of  Pugnani 
(vln.),  and  Spezzani  (comp.);  1781,  1st  violin 
at  the  Comedie  Italienne;  1789,  conductor  at 
the  Th.  de  Monsieur,  later  at  the  Opera- 
Comique.  He  wrote  18  operas,  a  quantity  of 
violin-music,  and  Methods  for  violin  and 
viola. — See  Q.-Lex. 

Brun'ner,  Christian  Traugott,  b.  Briin- 
los  (Erzgebirg),  Dec.  12,  1792;  d.  Chemnitz, 
April  14,  1874,  as  organist  and  conductor  of 
choral  societies.  Wrote  instructive  pf.-pieces, 
also  potpourris,  etc. 

Bruyck  [broik],  Karl  Debrola  van,  com- 
poser and  author;  b.  BrOnn,  March  14,  1828; 
d.  Aug.  5,  1902,  at  Waidhofen  on  the  Ybbs. 
•A  law-student  at  Vienna,  he  turned  to  music 
in  1850,  studied  theory  with  Rufinatscha, 
and  wrote  for  musical  papers.  His  comps.  are 
mostly  in  MS.;  his  chief  literary  productions 
are  a  Technische  und  dsthetische  Analyse  des 
Wohltemp.  Claviers  (1867;  1889);  Robert  Schu- 
mann (1868,  in  Kolatschek's  'Stimmen  der" 
Zeit') ;  and  Die  Entwickelung  der  Klaviermusik 
von  J.  S.  Bach  bis  R.  Schumann  (1880). 

Bryen'nius,  Manuel,  the  last  Greek 
writer  on  music  (circa  1320).  He  is  not  an 
original  theorist,  however,  his  Harmonica  be- 
ing a  compilation  and  summary  from  earlier 
Greek  authorities.  Publ.  in  Tohann  Wallis's 
'Opera  mathematica1  (vol.  iif,  1699) 

Buch'halter,  Simon,  b.  Kiev,  Russia, 
•April  20,  1881.  Pianist,  pupil  of  Paolo  Gallico 
and  Leopold  Kramer  in  N.  Y.  (1898-1901); 
of  Julius  Epstein  and  Stefan  Stocker  in 
Vienna  (1902-1905).  Tours  of  U.  S. 
(1905-6  and  1909-10);  in  charge  of  pf.- 
department,  Lindberg  School  of  Music,  Wi- 
chita, Kansas  (1907);  tour  (1912-13);  located 
permanently  in  Chicago  in  1913. — Works:  An 
oratorio,  Drama    of  Exile;   Psalm    CXLH; 

124 


BUCHHOLZ— BUCK 


Symphonic  Overture  (on  themes  from  A 
Drama  of  Exile)  for  orch.;  several  works  for 
pf.  {Sonata  Heroic  in  F  m.,  op.  24;  Prelude 
and  Fugue  in  Dm.;  Htude  de  Concert  in  G  m.; 
Scherzo  in  A;  nocturnes,  etc.);  sones. — 
An  opera,  A  Lovers1  Knot,  was  produced 
Jan.  15,  1916,  in  Chicago  by  the  Chicago 
"Opera  Company  (published  by  Schirmer). 

Buchliolz,  Johann  Simeon,  b.  Schloss- 
wippach,  n.  Erfurt,  Sept.  27,  1758;  d.  Berlin, 
Feb.  24, 1825 ;  founder  of  the  celebrated  firm  of 
organ-builders.  He  was  succeeded  by  his  son 
Karl  August  (1796-1884),  whose  son,  Karl 
Friedrich,  last  of  the  name,  d.  Feb.  17,  1885. 

Buch'mayer,  Richard,  b.  Zittau,  April 
19,  1857.  Entered  Dresden  Cons,  in  1875, 
and  devoted  himself  especially  to  pf.;  after 
a  4-years'  residence  in  Russia  he  returned  to 
Dresden  as  teaqher  of  pf.  at  the  Cons.;  re- 
signed in  1890;  taught  then  a  few  years  at 
the  Musikschule,  but  has  given  up  all  con- 
nections with  institutions,  and  is  dividing  his 
time  between  private  teaching,  concertizing 
and  research  work.  He  always  showed  a 
preference  for  the  older  piano-music,  and  his 
Historical  recitals  have  won  him  an  enviable 
reputation.  During  a  visit  to  the  municipal 
library  of  LQneburg,  in  1903,  he  discovered 
some  valuable  manuscripts  of  organ-  and 
piano-works  of  the'  early  part  of  the  17th 
century,  throwing  new  light  on  the  subject 
of  organ-tablatures.  The  results  of  his  studies 
he  has  publ.  in  'Sbd.  Int.  M.-G.,'  'Bach- 
Jahrb.'  (1908),  'Signale,'  etc.  Has  edited 
Ch.  Ritter's  cantata  O  sanctissime  sponse 
Jesu,  and  G.  Bohm's  cantata  Mein  Freund 
ist  mein  (B.  &  H.). 

Buch'ner,  Emil,  b.  Osterfeld,  n.  Naum- 
burg,  Dec.  7,  1826;  d.  Erfurt,  June  9,  1908. 
Pupil  (1843-6)  of  Leipzig  Cons.;  1865,  court* 
Kapellm.  at  Meiningen. — Works:  2  operas, 
Dame  Kobold  (1860?)  and  Launcelot;  cantata, 
Konig  Harold' s  Brautfahrt;  WaUenstein  over- 
ture; Wittekind,  for  ch.  and  orch.;  other  over- 
tures, symphonies,  chamber-music,  etc. 

Buck,  Dudley,  noted  organist,  composer, 
and  teacher;  b.  Hartford,  Conn.,  March  10, 
1839;  d.  Orange,  N.  T.,  Oct.  6,  1909.  Pupil 
of  W.  T.  Babcock  (pf.);  later,  at  Leipzig 
Cons.  (1858-9),  of  Plaidy  and  Moscheles 
(pf.),  Hauptmann  (comp.),  and  J.  Rietz  (in- 
strumentation) ;  also  studied  under  Rietz  and 
Johann  Schneider  (organ)  at  Dresden,  and 
thereafter  spent  a  year  (1861-2)  for  study  in 
Paris.  Returning  to  America,  he  became 
(1862)  organist  of  the  Park  Ch.,  Hartford; 
later  of  St.  James',  Chicago;  in  1872  of  St. 
Paul's,  Boston,  where  he  was  also  organist 
to  the  Music  Hall  Association.  In  1875  he 
was  the  organist  of  the  Cincinnati  May 
Festival;  then,  at  New  York,  asst.-conductor 
of  Th.  Thomas's  Central  Park  Garden  Con- 


certs, and  organist  of  St.  Anne's,  Brooklyn; 
in  1877  he  became  the  organist  of  Holy  Trin- 
ity Ch.,  Brooklyn,  and  director  of  the  Apollo 
Club.  In  1902  he  accepted  the  position  of 
organist  at  Plymouth  Ch.,  where,  however, 
he  remained  only  one  year,  for  in  1903  he 
resigned  all  positions.  He  was  one  of  the 
first  American  composers  to  achieve  general 
recognition;  his  church-music  and  numerous 
cantatas,  sacred  and  secular,  are  deservedly 
popular. — Works:  The  comic  opera  Deseret 
(1880);  a  grand  opera  Serapis  (not  perf.); 
symphonic  overture  Marmion  (1880);  a  Can- 
zonetta  and  Bolero  for  vln.  and  orch. "Or- 
gan-music: Grand  Sonata  in  Eb,  op.  22; 
Sonata  No.  2,  in  G  ra.,  op.  77;  Triumphal 
March,  op.  26;  Impromptu  and  Pastorale, 
op.  27;  Rondo-Caprice,  op.  35;  Idylle  At 
Evening,  op.  52;  Four  Tone-pictures;  various 
transcriptions  and  sets  of  variations;  also  18 
Pedal-phrasing  Studies,  op.  28  (2  books);  and 
Illustrations  in  Choir-accompaniment,  with 
Hints  on  Registration,  a  valuable  handbook 
for  organists  and  students; — Pf.-music:  Mid- 
summer Fancies,  Winter  Pictures,  Rondo- 
Caprice,  Scherzo-Caprice; — Cantatas  (a)  for 
male  chorus:  Chorus  of  Spirits  and  Hours, 
from  Prometheus  Unbound;  King  Olafs 
Christmas;  The  Nun  of  Nidaros;  Voyage  of 
Columbus;  Paul  Reveres  Ride;  (b)  for  mixed 
chorus:  Centennial  Meditation  of  Columbia; 
Hymn  to  Music;  Legend  of  Don  Munio;  The 
Golden  Legend;  The  Light  of  Asia;  Easter 
Morning;  The  46th  Psalm;  The  Christian 
Year,  a  series  of  5  cantatas  (1,  The  Triumph 
of  David;  2.  The  Coming  of  the  King;  3.  The 
Song  of  the  Night;  4.  The  Story  of  the  Cross; 
5.  Christ,  the  Victor);  etc.  Furthermore,  a 
great  variety  of  excellent  church-music 
(hymns,  anthems,  3  Latin  offertories,  Glo- 
rias, Jubilates,  Te  Deums,  3  Benedic  anima, 
4  Benediclus,  3  Bonum  est,  3  Cantate  Domino, 
etc.). — B.  also  publ.  The  Organist's  Repertoire 
(with  A.  P.  Warren);  The  Influence  of  the 
Organ  in  History  (1882);  and  a  Dictionary  of 
Musical  Terms. — A  complete  list  of  his  com- 
positions was  published  by  G.  Schirmer. 

Buck,  Dudley  (Jr.),  son  of  the  preceding; 
b.  Hartford,  Conn.,  April  5,  1869.  Pupil  of 
Vannucini  in  Florence,  Stockhausen  in 
Frankfort,  J.  de  Reszke  in  Paris,  Shakespeare 
and  Randegger  in  London;  debut  in  CavaX- 
leria  Ruslicana,  Sheffield  (England),  Sept.  8, 
1895;  until  1899  he  sang  in  various  cities  of 
Great  Britain  in  opera,  oratorio  and  concert; 
then  returned  to  the  U.  S.,  and  was  heard  in 
concerts  (Worcester  Fest.,  etc.);  since  1902 
has  been  living  in  N.  Y.  as  a  singing-teacher. 

Buck,  Percy  Carter,  b.  London,  Mar.  25, 
1871.  Pupil  of  C.  J.  Frost  and  F.  Davenport 
at  G.  S.  M.;  winning  a  scholarship,  he  cont. 
his  studies  at  the  R.  C.  M.  under  C.  H.  H. 


125 


bOhler— bOlow 


Parry,  C.  H.  Lloyd,  W.  Parratt;  Mus.  Doc., 
1897;  1896,  organist  at  Wells  Cath.;  at 
Bristol  Cath.,  1899-1901;  since  1901,  music 
director  at  Harrow  School;  succ.  Prout  as 
prof,  of  music  at  Trinity  College,  Dublin, 
1910. — Works:  Op.  17,  pf. -quintet;  op.  19, 
string-quartet;  op.  21,  sonata  for  pf.  and 
violin;  op.  22,  pf. -quartet;  Coeur  ae  Lion, 
overture  for  orch.;  an  organ  sonata;  trios  for 
female  voices;  anthems;  pf. -pieces;  also  publ. 
Ten  Years  of  University  Music  inOxford  (1894; 
with  Mee  and  Woods);  Unfigured  Harmony 
(1911);  Organ  Playing  (1912);  First  Year  at 
the  Organ  (1912);  The  Organ.  A  Complete 
Method  for  the  Study  of  Technique  and  Style 
(N.  Y.,  Schirmer). 

Btlhler,  Franz  [Pater  Gregorius],  born 
in  Schncidhcim,  near  Nordlingen,  April  12, 
1760;  d.  Augsburg,  Feb.  4,  1824.  A  Bene- 
dictine monk  at  Donauworth;  Kapellm.  at 
Botzen,  1794;  at  Augsburg  cathedral,  1801. — 
Works:  Opera,  Die  falschen  Verdachte;  ora- 
torio, Jesus,  der  gottliche  Erloser  (1816); 
masses,  psalms,  hymns,  and  the  like;  several 
colls,  of  German  songs  with  pf.;  sonatas  and 
preludes  for  org.;  theoretical  pamphlets;  etc. 

Bull,  John,  famous  org.  and  contrapuntal 
comp. ;  b.  Somersetshire,  England,  1563;  d. 
Antwerp,  March  12,  1628.  Pupil  of  William 
Blitheman  in  the  Chapel  Royal;  organist  of 
Hereford  cathedral,  1582;  later  also  Master 
of  the  Children.  1586,  Mus.  Bac,  1592,  Mus. 
Doc.,  Oxon.  In  1596  he  was  appointed,  on 
Queen  Elizabeth's  recommendation,  prof,  of 
music  at  Gresham  College;  a  post  resigned  on 
his  marriage,  1607.  In  1611  he  was  in  the 
service  of  rrince  Henry,  and  left  the  country 
two  years  later,  becoming  one  of  the  organists 
to  the  Archduke  at  Brussels.  In  1617  he 
became  organist  of  the  cathedral  of  Notre 
Dame  at  Antwerp.  200  compositions  are  at- 
tributed to  him;  list  in  Ward's  'Lives  of  the 
Gresham  Professors';  several  were  printed  in 
contemporary  collections  (exercises  and  vari- 
ations tor  the  virginals,  some  canons,  and  an 
anthem),  and  a  few  are  reprinted  in  Pauer's 
'Old  English  Composers'. 

Bull,  Ole  Bornemann,  famous  violinist; 
b.  Bergen,  Norway,  Feb.  5,  1810;  d.  at  his 
country-seat,  Lysoen,  near  Bergen.  Aug.  17, 
1880.  At  first  a  pupil  of  Paulsen,  he  rapidly 
outgrew  that  teacher's  method,  and  formed 
a  style  peculiarly  his  own,  preferring  an 
almost  level  bridge  and  flat  fingerboard.  A 
student  of  theology,  he  failed  to  pass  the 
examinations;  directed  the  Philh.  and  Dram. 
Societies  at  Bergen  (1828);  went  to  Spohr 
at  Kasscl  in  1829,  found  him  uncongenial, 
and  proceeded  to  Paris  (1831),  where  he  was 
strongly  influenced  by  Paganini,  and  made 
his  debut  in  1832.  Now,  technically  con- 
sidered, a  finished  virtuoso,  he  began  his  long 


travels  throughout  Europe, '  and  5  times  to 
North  America  (1843-79).  A  leading  trait  of 
B.'s  character  was  his  passionate  love  for  his 
native  land;  he  founded  a  national  theatre  at 
Bergen,  but  became  involved  in  troublesome 
disputes,  left  the  town,  and  in  1852  bought 
a  tract  of  125,000  acres  in  Pennsylvania  to 
establish  a  Norwegian  colony;  but  the 
scheme  failed,  and  he  was  swindled  out  of 
an  immense  sum.  His  loss  was  soon  made 
good,  however,  by  renewed  artistic  tours. 
Die  B.  did  not  rank  high  as  a  cultivated  musi- 
cian, but  he  was  a  past-master  of  all  re- 
sources and  tricks  of  technique,  and  played 
his  own  pieces  (he  rarely  attempted  others) 
with  wonderful  skill  and  expression.  He 
wrote  2  concertos  (A  and  E  m.),  and  a  variety 
of  characteristic  solo  pieces;  of  all  his  works 
only  3  have  been  published  (La  Preghiera 
d'una  madre,  Variazioni  di  bravura,  and  a 
Notlurno.) — Biogr.:  Ole  Bull:  A  Memoir  (Bos- 
ton, 1883),  by  Sara  C.  Bull,  his  second  wife 
(German  ed.  Stuttgart,  1886);  O.  Vik  is  his 
Norwegian  biographer  (Bergen,  1890). 

Bullard,  Frederick  Field,  b.  Boston, 
Mass.,  Sept.  21,  1864;  died  there  June  24, 
1904.  He  renounced  the  study  of  chemistry 
for  music,  taking  a  four-years'  course  of 
composition  under  Rheinberger  at  Munich 
(1888-92).  He  then  settled  in  Boston  as  a 
teacher  of  composition  and  composer;  was 
mus.  critic  for  'Time  and  the  Hour,'  1897-8. 
He  publ.  about  40  songs  {The  Sword  of  Ferrara, 
Beam  from  yonder  star,  The  Water-lily,  A 
June  Lullaby,  The  Singer,  The  Hermit,  De 
profundus,  etc.);  also  church-songs,  hymn- 
anthems,  duets,  and  a  score  of  4-p.  songs 
for  male  voices,  several  of  which  are  popular. 

Billow  [bQ'loh],  Hans  Guido  von,  a  pian- 
ist, conductor  and  critic  of  wonderful  ver- 
satility and  the  highest  attainments;  born 
Dresden,  Jan.  8,  1830;  died  Feb.  12,  1894,  at 
Cairo,  Egypt,  whither  he  had  gone  in  the 
vain  hope  of  restoring  his  undermined  health. 
At  the  age  of  9  his  teachers  were  Friedrich 
Wieck  (pi.)  and  Eberwein  (harmony);  when, 
in  1848,  he  matriculated  at  Leipzig  Univ.  as 
a  law-student,  he  continued  contrapuntal 
study  under  Hauptmann.  Next  year,  how- 
ever, found  him  at  Berlin,  where  ne  adopted 
Wagner's  radical  tendencies  (see  W.'s  Die 
Kunst  und  die  Revolution,  then  just  publ.); 
was  confirmed  in  his  views  by  hearing 
Lohengrin  given  at  Weimar  under  Liszt's 
direction,  and  joined  Wagner  in  his  exile  at 
Zurich.  During  1850-1  the  master  initiated 
him  into  the  art  of  conducting;  B.  then 
acted  as  conductor  in  the  theatres  at  Zurich 
and_  St.  Gallen,  and  finally  became  Liszt's 
pupil  at  Weimar  His  first  pianistic  tour 
(1853),  through  Germany  and  Austria,  met 
with  fair  success;  his  second,  in  1855,  secured 
126 


BULSS— BUNGERT 


him  the  succession  to  Kullak  as  first  pf.- 
teacher  in  the  Stern  Cons.,  Berlin,  a  post 
held  until  1864.     He  married  Cosima  Liszt 
in  1857;  in  1858  he  was  app.  court  pianist; 
in  1863  the  Univ.  of  Jena  made  him  Ph.  D. 
(hon.  c).   Wagner,  having  been  recalled  from 
banishment    by    Ludwig    II    of     Bavaria, 
influenced  his  royal  patron  to  invite  B.  to 
Munich  in   1864,  as  court    pianist;     from 
1867-9   he   was  also  court    Kapellm.,   and 
Director   of  the   School   of   Music.     From 
1869,  after  separation  from  his  wife,  B.  lived 
in  Florence  as  a  teacher,  pianist,  and  concert- 
giver  till  1872;  here  he  was  also  a  power  in 
musical  circles,  and  did  much  to  introduce 
German    music.      After    an    interval    filled 
chiefly  by  concert-tours,  he  succeeded  Fischer, 
in  18/8,  as  court  Kapellm.  at  Hanover;  but 
frequent    embroilments    with    the    theatre 
Intendant  led  to  B.'s  resignation  in   1880, 
and  from  Oct.  1,  of  that  year,  until  1885  he 
acted    as    'Hofmusik-Intendant'    at    Saxe- 
Meiningen.    In  1882  he  took  his  second  wife, 
Marie  Schanzer,  an  actress  at  Meiningen. 
From    1885-8    B.    devoted    much    time    to 
teaching  at  the  Raff  Cons.,  Frankfort,  and 
Klindworth's    Cons.,     Berlin;    he    likewise 
directed  the  Philharm.  Concerts  at  Petro- 
grad  and  Berlin.     In  1888  he  founded,  at 
Hamburg,  the  Subscription  Concerts,  which 
were  a  great  success  from  the  start. 

Billow's  characteristics,  both  as  a  player 
and  conductor,  were  complete  identification 
with  the  spirit  of  the  interpreted  compositions; 
careful  attention  to  the  minutest  details  of 
phrasing,  shading,  and  technique,  resulting 
in  reproductions  of  flawless  accuracy;  tireless 
energy;  and  an  almost  unexampled  memory, 
enabling  him  not  only  to  play  his  entire 
and  unmatchable  repertory  by  heart,  but 
also  to  conduct  the  most  intricate  orchestral 
works  without  score — a  modern  fashion  in 
which  he  was  the  pioneer.  His  training  of 
the  Meiningen  orchestra,  with  which  he 
made  world-renowned  concert- tours,  will,  in 
particular,  ever  be  quoted  as  an  astounding 
example  of  the  subordination  of  the  instru- 
mental factors  to  lofty  artistic  intelligence 
and  will-power.  No  pianist  except  d' Albert 
has  successfully  followed  his  lead  in  giving 
programs  filled  solely  with  the  most  difficult 
of  Beethoven's  sonatas;  he  was,  indeed,  a 
classical  player  par  excellence,  though  having 
at  his  fingers'  ends  all  the  best  productions 
of  modern  piano-literature.  His  pianistic 
tours  in  Europe  and  America  (where  he  gave 
139  concerts  in  1875-6)  were  the  triumphal 
progresses  of  a  genuine  apostle  of  high  art. — 
His  published  comps.  include  the  music  to 
Shakespeare's  Julius  Casar  (op.  10),  a 
Ballade  f.  orch.,  Des  Sangers  Finch  (op.  16), 
a  symphonic  'Stimmungsbild'  Nirwana  (op. 
20),  4  Char  adder stucke  for  orch.  (op.  23),  and 


a  few  pf.-pieecs  and  songs;'  also  masterly 

transcriptions  of  the  prelude  to  Wagner's 

Meister singer  and  the  whole  of  Tristan  und 

Isolde,    also    of    Berlioz's    overtures   to   Le 

Corsaire  and  Benvenuto  Cellini.    His  critical 

editions    of    Beethoven's^  sonatas,    and    of 

Cramer's  etudes,  attest  his  eminent  editorial 

ability. — Bibliography:  E.  Zabel,  H.  v.  B. 

(Hamburg,  1894);  Th.  Pfeiffer,  Studien  bei 

H.  v.  B.  (Berlin,   1894;  6th  ed.   1908);  R. 

Sternfeld,  H.  v.  B.  (Leipzig,  1894);  J.  V.  da 

Motta,  Nachtrag  zu  den  Pfeiffer' schen  'Studien 

bei  H.  vdn  B.'  (Leipzig,  1895);  W.  Altmann, 

Chronik  des  Berliner  philhartnonischen  Orche- 

sterst  1882-1901.     Zugleich  tin  Beitrag  zur 

Beurteilung  H.  t>.   B.'s   (Berlin,    1902);  G. 

Fischer,  H.  v.   B.  in  Hannover   (Hanover, 

1902) ;  H.  Reimann,  H.  v.  B.  Sein  Leben  und 

sein    W ir ken    (Berlin,    1909).— His    writings 

were  publ.  by  B.'s  widow,  Marie  v.  Bulow, 

under  the  title  Brief e  und  Schriften  Hans  von 

Bulows  (8  vols.,  Leipzig,  1895-1908;  vol.  iii 

contains    selected    essays,    the   other  m  vols. 

letters);    La    Mara,    Briefwechsel    zmschen 

Franz  Liszt  und  Hans  von  Bulow  (Leipzig, 

1898);  E.  Forster-Nietzsche  and   P.  Gast, 

Friedrich  Nietzsches  gesammelte  Brief e  (Berlin, 

1905;  vol.   iii  contains  the  correspondence 

between    N.    and    B.);    selected    letters    in 

English  translation  were  publ.  by  C.  Bache, 

The    Early    Correspondence    of   H.    v.    B. 

(London,  1896).  See  also  F.  Rosen,  Musik- 

dstheUsche  Streitfragen.   Streiflichter   zu   den 

ausgewahlten  Schriften  von  H.  v.  B.  (Leipzig, 

1897). 

Bulss,  Paul,  baritone  stage-singer;  born 
Birkholz  Manor,  Priegnitz,  Dec.  16,  1847; 
d.  Temesvar,  March  20,  1902.  Pupil  of  G. 
Engel;  eng.  in  theatres  at  Ltibeck,  Cologne, 
Kassel,  Dresden  (1876-89);  thereafter  at  the 
Berlin  Court  Opera. 

Bulr/haupt,  Heinrich,  poet  and  drama- 
tist; b.  Bremen,  Oct.  26,  1849;  d.  there  Aug. 
21,  1905.  He  studied  jurisprudence  at 
Gottingen,  Leipzig  and  Berlin,  spent  some 
time  in  Kiev  as  private  teacher,  and  then 
made  an  extensive  trip  in  the  Orient.  In  1879 
he  was  appointed  librarian  of  the  Municipal 
Library  at  Bremen;  1892  he  received  the  title 
'Professor.'  Besides  his  purely  literary  work 
he  wrote  texts  to  several  operas  of  Reinthaler, 
Rubinstein,  d'Albert,  etc.,  and  to  choral 
compositions  of  Vierline  and  Bruch.  His 
most  important  work  dealing  with  music 
is  his  Dramaturgie  der  Oper  (2  vols.,  Leipzig, 
1887;  2d  ed.  1902).  He  also  wrote  a  biogra- 
phy of  Karl  L5we  in  'Beruhmte  Musiker' 
(1898),  and  Richard  Wagner  als  Klassiker 
(1899). 

Bung'ert,  August,  b.  Mulheim-on-Ruhr, 
March  14,  1846;  d.  Leutesdorf,  Oct.  26,  1915. 
Taught  by  H.  F.  Kufferath  (pf.);  then  at 


127 


BUNNETT— BURBURE 


Cologne  Cons.;  thereafter,  for  4  years,  at 
Paris  Cons.;  he  also  studied  with  Mathias, 
Kapellm.  at  Kreuznach  (1869),  and  after- 
wards at  Karlsruhe;  he  lived  (1873—81)  in 
Berlin,  pursuing  contrapuntal  studies  under 
Kiel,  and  from  1882  at  Pegli,  near  Genoa. 
The  last  years  of  his  life  he  lived  alternately 
at  Berlin  and  Leutesdorf  on  the  Rhine.  In 
1911  he  was  made  *R.  Prof.' — Compositions: 
Beginning  in  1871,  B.  composed  2  great 
opera-cycles:  I.  Die  Mas,  comprising  (1) 
Achilles;  (2)  Klytemnestra^—W.  Die  Oayssee, 
comprising  (1)  Kirke  (Dresden,  1898),  (2) 
Nausikaa  (ib.,  1901),  (3)  Odysseus'  Heim- 
kehr  (ib.,  1896;  mod.  succ.);  (4)  Odysseus* 
Tod  (ib.  1903).— Each  of  these  4  'Abende'  is 
also  provided  with  a  'Vorspiel';  the  entire 
work  (2  cycles)  is  entitled  Homerische  Welt. 
The^  entire  tetralogy  was  given  also  in 
Berlin,  Cologne  and  Hamburg,  but  every- 
where met  with  an  indifferent  reception.  Die 
Mas  was  not  completed. — Comic  opera  Die 
Studenten  von  Salamanca  (Leipzig,  1884); 
symph.  poem  Auf  der  Wartburg;  Hohes  Lied 
der  Liebe,  with  orch.;  Tasso,  overture;  pf.- 
p^uartet,  op.  18  (won  prize  offered  by  Floren- 
tine Quartet,  1878);  Symphonia  victrix;  var. 
and  fugue  for  orch.,  op.  13 ;  a  symph.,  Zeppelin* 
erste  grosse  Fakrt;  Ein  deutsches  Requiem 
for  bar.,  chorus  and  orch.  (1907)';  a  mystery, 
Warum?  woher?  wohin?  (1908);  incidental 
music  to  Goethe's  Faust;  a  few  pieces  f.  pf.; 
quartets  for  men's  voices;  songs  (many  to  Car- 
men Sylva's  Lieder  einer  Konigin). — Cf.  M. 
Chop,  A.  B.,  ein  deutscher  Dickterkomponist 
(Leipzig,  1902). 

Bunnett,  Edward,  b.  Shipdham,  Norfolk, 
Engl.,  June  26,  1834.  Chorister  at  Norwich 
Cath.,  1842;  articled  to  Dr.  Buck,  1849,  and 
his  assistant  1855-77;  then  org.  of  St.  Peter's, 
Mancroft;  Borough  Organist  in  1880.  Mus. 
Bac,  Cantab.,  1857;  Mus.  Doc.,  1869;  F.  C. 
O.,  1870.  From  1871-92,  conductor  of  the 
Norwich  Mus.  Union;  organist  of  the  Nor- 
wich Mus.  Festivals  since  1872. — Works:  De 
Profundis  (Norwich,  1880);  services,  anthems, 
etc.;  cantata  Rhineland,  f.  sopr.  solo.,  ch. 
and  orch.  (Norw.  Fest.,  1872);  cantata  Lora 
(1876);  comedietta  Incognita  (1892);  Victoria, 
f.  sopr.  solo  and  ch.  (1887);  part-song  The 
Rhine  Maiden  (1884);— Andante  and  Rondo 
for  pf.  and  orch.;  pf.-trio;  duo  for  pf.  and 
clar.;  pf. -pieces;  8  Organ-pieces;  6  original 
comps.  for  organ;  12  Short  and  Easy  Pieces 
for  organ ;  Largo,  and  A  ve  Maria,  for  organ ;  etc. 

Bunning,  Herbert,  b.  London,  May  2, 
1863.  St.  comp.  at  Milan  from  1886  to  1891 
under  V.  Ferroni,  then  returning  to  London; 
app.  conductor  at  Lyric  Th.,  1892;  cond.  at 
Pnnce  of  Wales  Th.f  1894-6.— Works:  An 
Ital.  scena,  Ludooicoil  Moro  (1892);  Shepherd's 
Call,  intermezzo  for  horn  and  strings  (1893) ; 


2  overtures,  Mistral  and  Spring  and  Youth 
(both  1897;)  Village-Suite  for  orch.  (1896); 
Sir  Launcelot  and  Queen  Guinevere,  scena  for 
tenor  and  orch.  (1905);  incid.  music  to  Robin 
Hood  (1906);  songs  and  part-songs.  An 
opera,  Princess  Osra,  was  prod,  at  Covent 
Garden  in  1902  (July  14). 

Bun  tug,  Edward,  historiographer  of  Irish 
music;  b.  Armagh,  Feb.,  17/3;  d.  Belfast, 
Dec.  21,  1843.  His  collections  fill  3  volumes 
(London,  1796;  London,  1809;  Dublin,  1840) 
and  are  based  on  diligent  research,  and  oral 
communications  from  contemporary  harpers 
of  note. 

Buonamen'te,  Giovanni  Battista,  one 
of  the  earliest  composers  of  sonatas  for  violin, 
whose  works  exerted  a  considerable  influence 
upon  the  development  of  violin  technic;  c. 
1626  'Kaiserl.  Hofmusikus';  c.  1636  Kapellm. 
at  the  Franciscan  monastery  of  Assisi.  He 
published  7  books  of  sonatas,  symphonies 
and  dances  at  Venice;  the  last  4  (1626,  '29, 
'36,  '3 7)  are  preserved  in  the  Municipal 
Library  of  Breslau. 

Buonamlci  [-me'tchej,  Giuseppe,  distin- 
guished pianist;  b.  Florence,  Feb.  12,  1846; 
d.  there  March  17,  1914.  His  uncle,  Giuseppe 
Ceccherini,  was  his  first  teacher;  from 
1868^-70,  pupil  of  Bulow  and  Rheinberger  at 
Munich  Cons.;  then,  for  3  years,  teacher 
there  of  advanced  pf.-classes.  1873,  cond.  of 
the  Florentine  Choral  Society  'Cherubim'; 
later  founded  the  Flor.  'Trio  Society'  and 
became  prof,  at  the  'Real  Istituto  Musicale'. 
He  has  publ.  a  compilation  of  the  technical 
figures  found  in  Beethoven's  pf  .-music,  in  the 
form  of  Daily  Studies;  also  50  fitudes  from 
Bertini  (preparatory  to  Billow's  'Cramer'); 
has  edited  Bach's  lesser  Preludes  and  Fugues, 
the  'Biblioteca  del  Pianista,'  publ.  by  Ricordi, 
and  a  complete  edition  of  Beethoven's  So- 
natas. Also  published  pf.-pieces,  a  concert- 
overture,  a  string-quartet,  and  songs. 

Buonglorno    [-jdhr'ndh],   Grescenzo,  b. 

Bonito,  Prov.  of  Avellino,  in  1864;  d.  Dresden, 
Nov.  7,  1903.  A  pupil  of  Serrao  at  the 
Naples  Cons.,  he  later  settled  in  Dresden. 
His  first  opera,  Etelka  (Naples,  1887;  Prague, 
1894),  was  followed  by  12  operettas,  among 
them  Abukadabar  (Naples,  1889),  Circe  e 
Calipso  (Turin,  1892),  and  La  nuova  SaltareUa 
(Trieste,  1894);  he  then  brought  out  3 
operas  in  Germany:  Das  Erntefest  (Leipzig, 
1896);  Das  Mddchenherz  \Il  cuore  deUe 
fanciulle]  (Kassel,  1901);  and  Michel  Angelo 
und  Rolla  (Kassel,  1903). 

Buononci'ni.    See  Bononcini.. 

Buranello.    See  Galuppi. 

Burbure  [bur-bar']  de  Wesembeek,  Leon- 
Philippe-Marie,  Chevalier  de,  b.  Ter- 
monde,  E.  Flanders,  Aug.  16,  1812;  d.  Ant- 


128 


BURCI— BURLEIGH 


werp,  Dec.  8,  1889.  Nobleman  and  musical 
connoisseur;  wrote  valuable  monographs  on 
the  ancient  Antwerp  music-guilds  of  St. 
Jacob  and  Sta.  Maria  Magdalena;  on  clavi- 
chord- and  lute-makers  in  Antwerp  (from 
the  16th  cent.);  on  the  Belgian  Cecilian 
Society;  and  on  Hanssens,  Bosselet,  and 
Okeghem.  His  principal  work  is  Les  ceuvres 
des  anciens  musicians  beiges. — Publ.  comps. 
for  orch.,  chamber-music,  church-music,  etc. 

Bur'ci.   See  Burtius. 

Burck.   See  Burgk. 

Bur'de-Ney,  Jenny,  dramatic  soprano; 
b.  Graz,  Dec.  21,  1826;  d.  Dresden,  May  17, 
1886.  Debut  at  Olmutz,  1847;  sang  at 
Prague,  Lemberg,  Vienna  (1850),  Dresden 
(1853),  London  (1855-6),  Berlin,  Hanover, 
etc.  Married  (1855)  the  actor  E.  Btirde; 
retired  1867. 

Burette  tbii-ret'],  Pierre-Jean,  b.  Paris, 
Nov.  21,  1665;  d.  there  May  19,  1747,  as 
prof,  of  medicine  at  Paris  Univ.,  member  of 
the  Acad.,  etc.  His  scholarly  notes  on 
Greek  music,  in  which  he  combats  the  idea 
that  the  Greeks  cultivated  polyphony,  are 
printed  in  vols,  i-xvii  of  the  memoirs  of  the 
'Acad,  des  Inscriptions.' 

Bur'gel,  Konstantln,  b.  Licbau,  Silesia, 
June  24,  1837;  d.  Breslau,  July  1,  1909. 
Pupil  of  Brosig  (Breslau)  and  Kiel  (Berlin); 
from  1869-70  was  piano-teacher  in  Kullak's 
Academy;  after  that  private  teacher.  Wrote 
overtures,  chamber-music,  etc. 

Burgk  (properly  Joachim  Moller  [or 
Mailer]),  called  Joachim  a  Burgk  (or 
Burg,  or  Burck),  b.  Burg,  near  Magdeburg, 
circa  1541;  d.  May  24,  1610,  Miihlhausen, 
Thuringia,  where  he  had  been  org.  since 
1566  (?).  Very  eminent  (Protestant^  church- 
composer,  whose  works  were  publ.  1550-1626. 
— Cf.  Jordan,  Aus  der  Geschichte  der  Musik 
in  Miihlhausen  (Miihlhausen,  1905).— See 
Q.-Lex. 

Burg'mein,  J.,  is  the  pen-name  of  Giulio 
Ricordi,  the  Milan  music-publisher. 

Burg'muller,  Johann  Friedrich  Franz, 

b.  Ratisbon,  1806;  d.  Beaulieu,  France,  Feb. 
13,  1874.  Wrote  light  salon-music;  some  of 
his  studies  (op.  100,  105)  are  useful. 

Burg'muller,  Norbert,  brother  of  preced- 
ing; b.  Dttsseldorf,  Feb.  8,  1810;  d.  Aix-la- 
Chapelle,  May  7,  1836.  Highly  gifted  pianist 
and  composer;  pupil  of  Spohr  and  Haupt- 
mann  at  Kassel. — Publ.  a  pf  .-concerto  in  F#  m. 
(op.  1);  a  sonata  in  F  m.  (op.  8);  Rhapsodie 
(op.  13);  a  Polonaise  (op.  16);  other  sonatas, 
etc. ;  also  quartets,  and  2  symphonies. 

Burg'ataller,  Alois,  dramatic  tenor;  b. 
Holzkirchen,  Sept.  27,  1871;  pupil  of  Julius 
Kniese.    At  Bayreuth  he  began  with  minor 


rdles  in  1894;  sang  Siegfried  (1897),  Sieg- 
mund  (1899),  Erik  (1901);  engaged  at  the 
M.  O.  H.  New  York,  1902-9;  sang  Parsifal 
at  the  first  Amer.  perf.  in  1903.  Since  his 
return  to  Germany  he  has  sung  only  occasion- 
ally as  star;  1916  (after  more  than  a  year's 
retirement  for  study)  appeared  again  at 
Frankfort  with  sensational  success. 

Burkliard,  Johann  Andreas  Christian, 

pastor  and  school-inspector  at  Leipheim, 
Swabia;  publ.  a  small  Diet,  of  Music  (Ulm, 
1832),  and  a  Generalbasslehre  (1827). 

Burkliardt,  Max,  b.  Ldbau,  West  Prus- 
sia, Sept.  28,  1871.  St.  at  Leipzig  (with 
priv.  teachers  and  at  the  Cons.)  and  Greifs- 
wald;  Ph.  D.,  Leipzig,  1897  (diss.:  Beitr&ge 
turn  Studium  des  deutschen  Liedes);  1899, 
conductor  of  *Liederkranz*  at  Cologne;  since 
1906  in  Berlin  as  lecturer  on  music  at  the 
Lessing  Hochschule,  and  critic. — Works:  The 
operas  Konig  Drosselbart  (Cologne,  1904),  Das 
Moselgretchen  (Schwerin,  1912);  a  symphony, 
Aus  &n  Bergen  der  Heimat;  choral  work,  Die 
Mittagsgottin;  choruses;  songs  (attempts  to 
revive  the  use  of  lute  with  Laulenlieder).  He 
has  also  written  several  excellent  guides: 
Fuhrer  dutch  R.  Wagners  Musikdramen  (Ber- 
lin, 1909;  3d  cd.  1913);  Fuhrer  durch  die 
Konzertmusik  (Berlin,  1911;  analyzes  1,500 
works);  J  oh.  Brahms:  Ein  FUhrer  durch  seine 
Werke  (Berlin,  1912). 

Burleigh,  Cecil,  b.  Wyoming,  N.  Y., 
April  17,  1866.  Began  study  of  violin  with 
L.  E.  Hersey  in  Bloomington,  III.,  in  1890; 
pupil  from  1903-5  in  Berlin  of  A.  Witek 
(vl.)  and  H.  Leichtentritt  (comp.);  cont.  his 
studies  in  Chicago  with  E.  Sauret  and  H. 
Heermann  (vl.).and  F.  Borowski  (comp.)  at 
the  Chicago  Mus.  Coll.  from  1905-7.  After 
two  years'  concertizing  he  accepted  the 
position  of  teacher  of  vl.  in  the  Western 
Inst,  of  Mus.  and  Dram.  Art  in  Denver, 
Col.  (1909-11);  from  1911-14  had  charge 
of  the  depts.  of  vl.  and  theory  at  Morningside 
Coll.,  Sioux  City,  Iowa;  holds  a  similar 
position  since  1914  at  the  Univ.  of  Montana, 
Missoula;  since  1915  has  appeared  frequently 
in  the  Eastern  States  as  interpreter  of  his 
own  works,  which,  consist  chiefly  of  pieces  for 
vln.  and  pf. — Works:  Op.  6,  Eight  Character- 
istic Pieces;  op.  11,  Four  Rocky  Mountain 
Sketches;  op.  12,  Scherzando  Fantastique;  op. 
13,  Four  Prairie  Sketches;  op.  14,  Five  Remi- 
niscences; op.  15,  Snow-Bound  (after  Whit- 
tier);  op.  16,  Six  Winter  Evening  Tales;  op. 
17,  Five  Tone-Poems;  op.  18,  Twelve  Short 
Poems;  op.  20,  Skeleton  Dance;  op.  21,  Four 
Small  Concert  Pieces;  op.  22,  The  Ascension, 
a  sonata  in  A;  op.  23,  Nature  Studies  (12 
pieces) ;  op.  24,  Five  Characteristic  Pieces;  op. 
25,  Concerto  in  E  m.  (won  prize  in  Chicago, 
1916);  op.  27,  Sonnets  of  Autumn  for  pf.  (7 


129 


BURMEISTER— BURROWES 


pieces);  op.  30,  Six  Pictures;  op.  39,  The 
North  Wind  (concert-6tude) ;  op.  40,  Five 
Indian  Sketches;  etc. 

Bur'meister,  Richard,  composer  and 
concert- pianist ;  b.  Hamburg,  Germany,  Dec. 
7,  1860.  St.  w.  Liszt  at  Weimar,  Rome  and 
Pest  (1880-3),  accompanying  him  on  his 
1  ravels.  Teacher  in  Hamburg  Cons.;  then 
for  12  years  director  of  pf.-dept.  in  Peabody 
Inst.,  Baltimore;  1898  director  of  the  Schar- 
wenka  Cons,  in  N.  Y.;  taught  the  advanced 
classes  at  the  Dresden  Cons.,  1903-6;  since 
1907  prof,  at  the  Klindworth-Scharwenka 
Cons,  in  Berlin.  Has  made  extensive  pianistic 
tours  through  Europe  and  America. — Works: 
Op.  1,  pf. -concerto  in  D  m.;  op.  2,  The  Chase 
after  Fortune  (Die  Jagd  nach  dem  Gliick), 
symphonic  Fantasy  in  3  movements;  op.  3, 
Cadenza  to  Chopin's  F  m.  concerto;  op.  4, 
3  songs;  op.  5,  Capriccio  f.  pf.;  op.  6,  wan- 
derer's  Night  Song;  The  Sisters  (Tennyson),  for 
alto  with  orch.;  a  vln.  romanza  with  orch.; 
pf.-transcriptions  of  songs.  He  has  rescored 
Chopin's  F  minor  concerto,  and  air.  an 
orchestral  ace.  for  Liszt's  'Pathetic'  concerto. 

Bur'mester,  Willy,  brilliant  violinist;  b. 
Hamburg,  Mar.  16,  1869;  was  taupht  by  his 
father  till  1882,  often  playing  in  public; 
pupil  of  Joachim  at  the  Royal  Hochscnule  in 
Berlin  till  1885;  artistic  tours  since  1886; 
for  a  short  time  in  1890,  leader  at  Sonders- 
hausen,  afterwards  living  in  Weimar;  now  in 
Berlin.  Scandinavian  tour  in  autumn  of 
1903;  has  also  toured  England  and  America. 
When  he  first  appeared,  his  aim  seemed  to 
be  to  dazzle  by  his  brilliant  technic,  but 
later  he  matured  into  a  consummate  artist. 

Burney,  Charles,  b.  Shrewsbury,  Engl., 
Apr.  7,  1726;  d.  Chelsea,  Apr.  12,  1814. 
Pupil  of  Baker  (org.  of  Chester  cath.),  and 
of  Arne  in  London  (1744-7).  In  1749  he 
became  org.  of  St.  Dionis  Back-church,  and 
harpsichord-player  at  the  subscription -con- 
certs in  the  King's  Arms,  Cornhill.  He  was 
org.  at  Lynn-Regis,  Norfolk,  1751;  Mus. 
Bac.  and  Mus.  Doc.,  Oxon.,  in  1769;  travelled 
in  France  and  Italy  (1770),  and  in  Germany, 
the  Netherlands,  etc.  (1772);  was  elected 
F.  R.  S.  on  his  return  in  1773.  During  these 
journeys,  and  while  living  at  Lynn-Regis,  he 
collected  notes  for  his  historical  works:  The 
Present  State  of  Music  in  France  and  Italy, 
etc.  (1771,  in  diary-form);  The  Present  State 
of  Music  in  Germany,  the  Netherlands ,  etc. 
(1773);  and  his  General  History  of  Music  (4 
vols.,  1776-89).  Other  writings:  A  Plan  for 
a  Music-School  (1774);  La  musica  che  si  canta 
annualmente  nelle  funzioni  delta  settimana 
santa  nella  Cappella  Pontificia,  composta  da 
Palestrinat  Allegri  e  Bai  (1784);  the  articles 
on  music  for  Ree's  Encyclopaedia;  and  minor 
works.  He  composed,  for  Drury  Lane,  music 


to  the  dramas  Alfred,  Robin  Hood,  and  Queen 
Mob  (1750),  and  The  Cunning  Man  (1760, 
text  and  music  adapted  from  Le  Devin  du 
village  by  Rousseau) ;  also  sonatas  for  pf .  and 
for  vln.;  vln.-concertos,  cantatas,  flute-duets, 
etc. — See  Q.-Lex.  His  daughter,  Miss  Fran- 
ces Burney  (Mme.  d'Arblay),  wrote  the 
novel  Evelina,  and  Memoirs  of  Dr.  B.  (publ. 
in  3  vols.,  1882).— Cf.  C.  Hill,  The  House  in 
St.  Martin  Street,  being  chronicles  of  the  B. 
family  (London,  1906). 

Burnham,  Thuel,  concert-pianist;  b. 
Vinton,  Iowa,  Dec.  28,  1884.  At  the  age  of 
six  he  was  exhibited  as  a  child  prodigy  on 
tours  of  the  U.  S.;  studied  seriously  from 
1894-99  in  N.  Y.  with  Dr.  W.  Mason  (pf.) 
and  E.  M.  Bowman  (theory);  after  a  success- 
ful tour  of  England  (1900)  he  spent  the  years 
1901-4  studying  with  Leschetizky  in  Vienna; 
since  then  concertizinp  throughout  Europe, 
with  special  success  in  Paris;  returned  to 
U.  S.  in  1915. 

Buroni.    See  Boroni. 

Burr,  Willard,  b.  Ravenna,  Ohio,  Jan.  17, 
1852.  Graduate  of  Oberlin  Cons.,  1877; 
pupil  of  August  Haupt  at  Berlin,  1879-80. 
Composer  and  writer  in  Boston,  Mass. — 
Works:  String-quartets,  pf. -trios,  Grand 
Sonata  f.  pf.  and  vln.;  sonatas,  nocturnes, 
fantasias,  fugues,  etudes,  etc.,  for  pf.  (From 
Shore  to  Shore,  op.  19,  contains  a  series  of  7 
pieces);  anthems  and  other  ch.-music;  songs. 

Burrian,  Karl,  celebrated  heroic  tenor;  b. 
Prague,  Jan.  12,  1870.  Pupil  of  F.  Piwoda 
there;  debut  at  Reval,  Russia,  as  Faust  in 
1892 ;  then  at  Berlin,  Cologne,  Hanover,  Ham- 
burg (1898);  in  .that  year  he  sang  Parsifal  at 
Bayreuth  with  great  success,  and  thereafter 
was  a  favorite  in  the  Wagner  parts.  As 
member  of  the  Dresden  Court  Op.  he  created 
the  r61e  of  Herod  in  Strauss'  Salome  (Dec.  9, 
1905),  a  part  in  which  he  has  not  been 
excelled  and  which  he  also  sang  at  the  M.  O. 
H.  (Jan.  22, 1907);  at  M.  O.  H.  from  1907-12; 
since  1911  at  the  Vienna  Court  Op.;  has  also 
sung  frequently  at  Cov.  Garden.  Besides  all 
the  Wagner  heroes,  his  repertory  includes  the 
chief  tenor  r61es  in  Aida,  Otello,  Carmen,  Fra 
Diavolo,  Werther,  La  Boheme,  etc 

Burrowes,  John  Freckle  ton,  composer 
and  writer;  b.  London,  April  23,  1787;  d. 
there  Mar.  31,  1852.  Pupil  of  W.  Horsley; 
member  of  the  Philh.  Soc.,  and  org.  of  St. 
James',  Piccadilly.  He  was  a  good  pianist 
and  successful  teacher;  his  Thorough-bass 
Primer  (London,  1818)  has  passed  through 
many  editions. — Comps.:  Overture  f.  full 
orch.;  sonatas  f.  pf.  and  flute,  pf.  and  'cello, 
and  pf.  and  vln.;  6  Divertissements  f.  pf.; 
6  Engl.  Ballads;  many  arrangements,  etc.; 
he  also  wrote  The  Pianoforte  Primer. 


130 


BURTIUS— BUSONI 


Bur'tius  (or  Bur'ci,  Bur'zio),  Nlcolaus, 

b.  Parma,  1450;  d.  there  Feb.,  1518.  Author 
of  Musices  opusculum  (Bologna,  1487), 
specially  noteworthy  as  the  earliest  specimen 
of  printed  mensural  music  (cut  on  wooden 
blocks). 

Burton,  Frederick  Russel,  b.  Jonesville, 
Mich.,  Feb.  23,  1861;  d.  Lake  Hopatcong, 
N.  J.,  Sept.  30,  1909.  Grad.  of  Harvard, 
1882,  where  he  received  his  entire  mus.  ed. ; 
1896  cond.  Yonkers  Choral  Soc.;  writer  on 
music  for  N.  Y.  'Sun.'  He  made  a  special 
study  of  Indian  music;  publ.  Songs  of  the 
Ojibway  Indians  (1903),  which  he  later  ex- 
panded into  American  Primitive  Music  (publ. 
[shortly  after  his  death]  1909).  Composer 
of  the  dramatic  cantatas  Hiawatha  (1898) 
and  The  Legend  of  Sleepy  Hollow  (1900); 
Inauguration  Ode  (1901,  on  the  second  in- 
auguration of  President  McKinley). 

Busby,  Thomas,  b.  Westminster,  Engl., 
Dec.,  1755;  d.  London,  May  28,  1838.  An 
articled  pupil  of  Battishill  (1769-74),  he  be- 
came org.  of  St.  Mary's,  Newington,  Surrey, 
and  (1798)  of  St.  Mary,  Woolnoth,  Lombard 
St.;  he  took  the  degree  of  Mus.  Doc.  at  Cam- 
bridge, 1800.  His  writings  include  a  Com- 
.  plete  Dictionary  of  Music  (1786);  a  General 
History  of  Music  (London,  1819;  2  vols.,  much 
material  being  taken  from  Burney  and  Haw- 
kins); Grammar  of  Music  (London,  1818); 
Concert-Room  and  Orchestra  Anecdotes,  etc. 
(1825;  3  vols.);  Musical  Manual,  or  Technical 
Directory  (1828).  A  valuable  work  is  The 
Divine  Harmonist,  a  coll.  of  sacred  music  by 
early  English  masters  (London,  1792).  His 
music  comprises  an  oratorio,  The  Prophecy 
(1799),  several  odes,  much  incidental  music 
to  plays;  also  songs,  etc.;  and  is  not  of  marked 
originality. — See  Q.-Lex. 

Busch,  Carl,  b.  Bjerre,  Denmark,  Mar.  29, 
1862.  Pupil  at  R.  Cons,  of  Music  in  Copen- 
hagen of  Tofte  (vl.)i  Hartmann  and  Gade 
(cpt.  and  comp.).  After  a  year  spent  in 
Paris,  playing  viola  in  the  orch.  under 
Godard,  he  settled  in  Kansas  City  in  1887, 
where  he  has  been  active  ever  since  as  cond., 
comp.  and  teacher;  has  conducted  his  own 
works  with  several  orchestras  in  the  U.  S., 
Denmark  and  Germany;  since  1912  conductor 
of  Kansas  City  Symph.  Orch. — Works:  The 
Passing  of  Arthur,  symph.  prologue  after 
Tennyson;  Minnehaha* s  Vision,  symphonic 
poem;  Elegy,  for  string-orch. ;  the  cantatas 
The  Four  Winds,  The  American  Flag,  King 
Olaf,  The  League  of  the  Alps,  Quvoera,  May, 
Paul  Revere' s  Ride,  America;  considerable 
music  for  vln.;  and  songs  (favoring  Indian 
themes). 

Bu'ai,  Alessandro,  son  of  G.  B.,  b.  Bo- 
logna, Sept.  28,  1833;  d.  there  July  8,  1895; 
violoncellist,  composer,  contrapuntist;  player 


in  orch.,  then  conductor,  of  Comunale  Th.; 
1865,  teacher  of  harmony  in  Bologna  Liceo; 
1871,  succeeded  his  father  as  prof,  of  coun- 
terpoint; 1884,  also  app.  Dir.  of  School  of 
Singing.  Biogr.  sketch  by  L.  Torchi:  Com- 
memorazionc  ai  A.  Bust  (Bologna,  1896). — 
Best  works:  Requiem  mass  for  tenors,  basses, 
and  grand  orch.;  Mass  for  ditto;  symphony 
Excelsior,  for  ch.  and  orch.;  Elegia  funebre 
((or  Rossini);  capriccio  In  alto  mare,  for  ch. 
and  orch.;  many  Romanze  for  voice  and  pf.; 
several  pf.-pieces. 

Bu'sl,  Giuseppe,  b.  Bologna,  1808;  d. 
there  Mar.  14,  1871.  His  teachers  were 
Palmerini  (harm.)  and  T.  Marchesi  (cpt.); 
from  1830  he  was  prof,  of  cpt.  at  the  Bologna 
Liceo.    His  church-music  is  valuable. 

Busnois  [bu-nwah'],  Antoine  (properly  de 
Busne),  contrapuntist  of  the  First  Nether- 
land  School;  1467,  chapel-singer  to  Charles 
the  Bold  of  Burgundy;  d.  Bruges,  Nov.  6, 
1492.  Only  7  chansons  in  Petrucci's  'Canti 
centocinquanta'  (1503),  and  a  few  MS.  masses, 
magnificats,  motets,  and  chansons,  are  still 
extant. 

Buso'ni,    Ferrucclo    (Benvenuto),    b. 

Empoli,  near  Florence,  April  1,  1866.  His 
father  (Ferdinando),  a  fine  clarinettist,  and 
mother  (nee  Weiss),  an  excellent  pianist,  were 
his  first  teachers.  At  8  he  made  his  debut 
as  a  pianist,  at  Vienna;  then  st.  in  Graz, 
under  W.  A.  Remy  (Dr.  W.  Mayer).  In 
1881,  after  a  successful  concert-tour  in  Italy, 
elected  a  member  of  the  Reale  Accademia 
Filarmonica,  Bologna.  In  1886  he  came  to 
Leipzig;  comp.  a  phantastic  opera,  string- 
quartet  (Dm.),  symphonic  suite,  etc.  1888-9, 
teacher  of  pf. -playing  in  Helsingfors  Cons.; 
1890,  took  Rubinstein  prizes  for  compositions 
and  pf. -playing  (for  Concertstuck  f.  pf.  and 
orch.,  op.  31a;  Sonata  f.  pf.  and  vln.;  pf.-arr. 
of  J.  S.  Bach's  Eb  Prelude  and  Fugue  for 
Organ;  and  various  pf.-pes.,  among  them  2 
cadenzas  to    Beethoven  s  Concerto  in   G). 

1890,  prof,  in  the  Imp.  Cons,  at  Moscow; 

1891,  prof,  of  pf. -playing  in  the  New  Engl. 
Cons,  at  Boston,  Mass.;  1893,  returned  to 
Europe;  made  a  very  succ.  concert-tour  in 
1895  (Belgium,  Denmark,  and  Italy).  He 
then  settled  in  Berlin  as  a  teacher;  from 
1905-7  he  conducted  a  series  of  orch.  concerts, 
of  early  music  little  known  or  seldom  heard. 
After  a  year  in  Vienna  (succeeding  Sauer  as 
teacher  of  the  'Meisterklassa'  at  the  Cons.), 
he  returned  to  Berlin;  1909-11  he  made 
triumphant  tours  of  the  U.  S.  In  1913  he 
went  to  Bologna  as  dir.  of  the  Liceo,  cond. 
of  the  symph.  concerts  and  supervisor  of 
chamber- music;  resigned  in  1915,  and  is  now 
living  in  Zurich.  In  1913  he  was  decorated 
with  the  chevalier's  cross  of  the  'L.d'Honneur, ' 
an  honor  previously  bestowed  on  only  two 


131 


BOSSER— BUTLER 


Italians,  Rossini  and  Verdi.  After  his  fame 
as  one  of  the  greatest  of  piano-virtuosos  was 
securely  established,  his  compositions  began  to 
attract  considerable  attention. — Works:  An 
opera,  Die  Brautwahl  (Hamburg,  1912);  f. 
orch.:  2  suites  (No.  1,  Symphonische,  op.  25; 
No.  2,  Geharnischte,  op.  34a),  Symphonisches 
Tongedicht,  LustspielouveHure  (op.  38),  Sym- 
phonische Nocturne;  a  concerto  f.  pf.  and 
orch.  (op.  39,  5  movemts.  w.  final  ch.) ;  New 
World,  pf. -concerto  w.  orch.  (introd.  negro 
themes);  Indian  Fantasy  f.  pf.  and  orch.; 
2  concertos  f.  vl.  and  orch.;  incid.  music  to 
Gozzi's  Turandot;  2  str. -quartets;  2  sonatas 
f.  vl.  and  pf.;  a  Suite  f.  vcl.;  many  works  f. 
pf.  (Sonata,  op.  8;  3  Petzi  nello  stilo  antico. 
op.  10;  Danse  antiche,  op.  11;  Var.  ana 
Fugue,  op.  22;  etc.).  Wrote  Entwurf  einer 
neuen  Asthetik  der  Tonkunst  (Trieste,  1907; 
Engl.  tr.  by  Th.  Baker,  N.  Y.,  1911)  and 
Versuch  einer  organischen  Klaviernotenschrift 
(Leipzig,  1910);  has  made  pf. -transcriptions 
of  many  of  Bach's  organ- works,  and  ed. 
Liszt's  works  f.  pf.  in  Breitkopf  &  HartePs 
monumental  Liszt  ed.;  a  most  original  and 
valuable  work  is  his  ed.  of  Bach's  'Well- 
tempered  Clavichord*  w.  critical  notes  and 
special  technical  studies  (Schirmer). 

BUsser,  Paul-Henri,  excellent  organist; 
b.  Toulouse,  Jan.  16,  1872.  Studied  in  the 
mattrise  of  Toulouse  cath.,  then  in  Paris  at 
the  Niedermeyer  School,  later  at  the  Cons. 
(Guiraud)  and  privately  with  Widor,  Gounod 
and  Cesar  Franck.  Took  first  prize  for  fugue  in 
1891.  First  Grand  prix  de  Rome  in  189  J  with 
his  cantata  Antigone. — Works:  1-act  pasto- 
rale Daphnis  et  ChloS  (Paris,  Op.-Com.,  1897; 
mod.  succ);  cantata  Amadis  de  Gaule  (1892, 
2nd  Grand  prix  de  Rome) ;  op.  3,  Ije  Sommeil 
de  V Enfant  Jesus  f .  vl.  and  orch. ;  op.  4,  A 
la  Villa  M edicts,  symph.  suite  f.  orch.;  op.  7, 
Minerva4  concert -overture  f.  orch.;  op.  18, 
Hercule  au  Jar  din  des  Hesperides,  symph. 
poem;  Suite  funambulesque  f.  small  orch.; 
op.  24,  A  la  Lutniere  (Poime  lyrique) ;  op.  26, 
Suite  breve  f.  small  orch.;  op.  27,  Messe  de 
Noel  for  4  voices  w.  org.  or  orch.;  op.  32, 
Piece  de  Concert  f.  harp  w.  orch.;  op.  34, 
Appassionato  f.  alto  w.  orch.;  op.  36,  Marche 
de  FUe  f.  orch.;  op.  57,  Hymne  d  la  France  f. 
tenor  w.  orch.  (1915);  op.  58,  Impromptu  f. 
harp  w.  orch.  (1915);  several  preludes  and 
fugues  f.  org.  on  themes  by  Gounod,  Massenet, 
A.  Thomas,  etc.  Two  operas,  Colomba  (op. 
40)  and  Les  Noces  corinthiennes  (op.  50), 
are  completed,  but  have  not  yet  (1916)  been 
produced. 

Busshop  [btt-shdhp'J,  Julea-Auguate- 
Guillaume,  b.  Paris,  Sept.  10,  1810;  d. 
Bruges,  Belgium,  Feb.  10, 1896.  A  self-taught, 
successful  composer  of  motets,  cantatas,  etc., 
with    and    without    orch.    accomp.;    prize- 


cantata,  Le  Drapeau  beige,  1834;  Te  Deum 
(Brussels,  1860);  several  overtures;  Symph. 
in  F;  opera  La  Toison  d'or  in  MS.;  Solemn 
Mass;  considerable  military  music. 

Bussler,  Ludwig,  distinguished  musical 
theorist;  b.  Berlin,  Nov.  26,  1838;  d.  there 
Jan.  18,  1900.  His  father  was  the  painter, 
author,  and  privy  councillor  Robert  Bussler; 
his  maternal  grandfather  was  the  famous 
tenor  singer.  Karl  Bader.  He  studied  at 
first  as  a  choir-boy  under  von  Hertzberg; 
in  theory  he  was  taught  later  by  Dehn  and 
Grell,  and  learned  instrumentation  with 
Wieprecht.  In  1865  he  became  teacher  of 
theory  in  the  Ganz  School  of  Music,  Berlin; 
from  1879,  at  the  Stern  Cons.;  also  acted  as 
cond.  at  the  Memel  Theatre  in  1869,  etc.  In 
1883  he  became  the  musical  critic  for  the  '  Na- 
tional-Zeitung.'  His  eminently  practical  writ- 
ings are  a  Musikalische  Elementarlehre  (1867, 
3d  ed.  1882;  English  transl,  N.  Y.,  1895); 
Praktische  Harmonielehre  in  Aufgaben  (1875; 
1885;  English  transl.  N.  Y.,  1895);  Der 
strenge  Sat*  (1877);  Harmon,  tfbungen  am 
Klavier  (no  date;  Engl,  transl.  N.  Y.,  1890); 
Kontrapunkt  und  Fuge  im  freien  Tonsatt 
(1878);  Mus.  Formenlehre  (1878;  Engl.  ed. 
N.  Y.,  1883;  1896);  Praktische  mus.  Kom- 
positionslehre:  Part  I,  Lehre  vom  Tonsatt 
(1878);  Part  II,  Freie  Komposition  (1879); 
Instrumentation  und  Orchestersat*  (1879); 
Elementar-Melodik  (1879);  Geschichte  der  Mu 
sik  (1882,  six  lectures);  Partiturstudium 
[Modulationslehre]  (1882);  Lexikon  der  must- 
halischen   Uarmonien    (1889). 

Bu8s'meyert  Hans,  b.  Brunswick,  March 
29, 1853;  pupil  of  the  Royal  School  of  Music 
at  Munich,  where  he  has  been  teacher  from 
1874-1904,  when  he  became  dir.  He  studied 
with  Liszt,  and  made  pianistic  tours  in  S. 
America  (1872-4);  founder  (1879)  and  cond. 
(till  1884)  of  the  Munich  Choral  Society. 
Among  his  works  op.  2,  Germanentug,  f. 
male  ch.  w.  orch.,  ana  op.  10,  a  pf.-concerto, 
have  attracted  attention. 

Buths  [boots],  Julius,  brilliant  pianist;  b. 
Wiesbaden,  May  7,  1851;  pupil  of  his  father 
(an  oboist)  and  Gernsheim;  later  of  Hiller 
(Cologne)  and  Kiel  (Berlin).  1871-2,  cond. 
the  'Cecilia*  at  Wiesbaden;  won  the  Meyer- 
beer Scholarship  in  1873,  and  lived  in  Milan 
and  Paris  1873-4;  cond.  in  Breslau,  1875-9; 
from  1879-90  cond.  of  the  Mus.  Soc.  at 
Elberfeld;  1890-1908  music-dir.  at  Diissel- 
dorf,  and  cond.  of  several  Rhenish  mus. 
festivals;  since  1902  dir.  of  Diisseldorf 
Cons. — Works:  a  concerto  for  pf.  and  orch.; 
a  pf. -quintet;  a  string-quartet;  a  suite  for 
piano;  etc. 

Butler,    O'Brien    {rede   Whitwell),    b. 

Cahersiveen,  Ireland,  circa  1870;  d.  May 
7,  1915  (lost  on  the  Lusitania).     Spent  his 


132 


BUTT— CABEZON 


boyhood  days  at  Iveragh,  a  place  abounding 
in  old  Gaelic  traditions;  began  his  musical 
studies  in  Italy,  finishing  with  C.  V.  Stan- 
ford and  W.  Parratt  at  the  R.  C.  M.  in 
London;  then  travelled  extensively,  and 
spent  some  time  in  India,  where  he  wrote 
an  Irish  opera,  Muireheis,  in  which  con- 
siderable use  is  made  of  the  pentatonic  scale. 
The  work  was  produced  in  Dublin,  in  1903, 
and  was  heard  in  concert-form  in  New  York 
(1915),  during  the  composer's  visit  to  the 
U.  S.  B.  also  wrote  a  sonata  for  vln.  and  pf. 
(on  Irish  themes). — One  of  his  songs,  Ctn- 
coradh,  was  selected  as  the  test  composition 
for  soprano  solo  singing  at  the  'Feis  Ceoil' 
at  Dublin  in  1915. 

Butt,  Clara,  b.  Southwick.  Sussex,  Feb. 
1,  1873.  Pupil  of  D.  W.  Rootham  in  Bristol 
till  1889,  when  she  won  a  scholarship  at  the 
R.  C.  M.,  where  she  continued  her  studies 
with  J.  H.  Blower;  debut  at  Albert  Hall  as 
Ursula  in  Sullivan's  Golden  Legend,  Dec.  7, 
1892;  studied  subsequently  for  a  short  time 
with  Bouhy  in  Paris  and  Etelka  Gerster  in 
Berlin  (1895).  Her  success  at  the  festivals 
at  Hanlcy  and  Bristol  in  1893  was  so  em- 
phatic, that  thereafter  she  not  only  was 
constantly  sought  for  those  occasions,  but 
prominent  composers  wrote  works  specially 
for  her  (F.  Cliff,  Triumph  of Alcestis;  H.  Bed- 
ford, Romeo  and  Juliet;  E.  El^ar,  Sea- 
Pictures;  etc.);  has  been  heard  twice  in  the 
U.  S.  (1899  and  1913);  1913-14  she  made 
a  tour  around  the  world  with  her  husband, 
R.  Kennerley  Rumford,  a  distinguished  bari- 
tone, whom  she  married  in  1900.  Her  voice 
is  a  rich  contralto  of  extraordinary  beauty. 

Biltt'ner,  Paul,  b.  Dresden,  Dec.  10, 
1870.  Pupil  of  Draeseke  at  the  Cons.;  from 
1896-1907,  teacher  there. — Wrote  3  symphs. 
(F,  G,  Db);  2  symph.  fantasies,  Der  Krieg 
and  Vber  ein  deutsches  Volkslied;  overture  to 
Grabbe's  Napoleon;  Saturnalia  for  wind- 
instruments  and  kettle-drums;  several  sona- 
tas for  pf.  and  vln.;  male  choruses  a  capp. 
and  witn  orch.;  also  a  1-act  opera,  Anka. 

Buus  [Paus],  Jachet  [Jacques]  de,  Flem- 
ish contrapuntist;  probably  b.  at  Bruges  (?); 
d.  (?).  In  1541  he  was  elected  asst. -organist 
at  San  Marco,  Venice;  1553-64,  organist  of 
the  court-chapel,  Vienna.  2  books  of  Riccr- 
carit  2  of  Canzoni  francesi,  and  1  of  Mottetti 
were  published  (1547-50). — See  Q.-Lex. 

Buxtehu'de,  Dietrich,  b.  Helsingborg, 
Sweden,  1637;  d.  Lubeck,  May  9,  1707,  as 
organist  at  the  Marienkirche,  a  post  he  had 
held  since  1668.  He  was  famed  far  and  wide 
as  an  organist;  in  1673  he  established  the 
'Abendmusiken,'  celebrated  musical  services 
made  up  of  organ-music  and  concerted  pieces 
for  chorus  and  orchestra,  held  on  Sunday 
afternoons  from  4  to  5;  to  hear  them,  J.  S. 


Bach  walked  50  miles,  from  Arnstadt.  As  a 
composer  he  was  greatest  in  the  instrumental 
fugue  and  suite.  A  complete  edition  of  his 
organ-works  has  been  publ.  by  Philip  Spitta. 
Other  instrl.  and  vocal  .works  are  extant  in 
MS.  or  in  rare  printed  editions. — Cf.  H.  Jim- 
merthal,  D.  B.  (Lubeck,  1877),  and  A.  Pirro, 
D.  B.  (Paris,  1913)-— See  Q.-Lex. 

Buzzola  [b66t's6h-lah],  Antonio,  dra- 
matic composer;  b.  Adria,  March  4,  1815;  d. 
Venice,  March  20,  1871.  Pupil  of  his  father, 
a  musical  director,  and  of  Donizetti  at  Naples. 
After  bringing  out  at  Venice  the  operas  Ferra- 
mondo  (1836),  Mastino  I  della  Scala  (1841), 
and  Gli  Awenturieri  (1842),  he  travelled,  for 
the  purpose  pf  study,  in  Germany  and 
France,  returning  (1847)  to  Venice,  where  he 
produced  Amleto  (1848)  and  Elisabetta  di 
Valois  (1850).  In  1855  he  was  app.  m.  di  capp. 
at  San  Marco,  and  wrote  much  good  church- 
music,  etc.  An  opera  in  Venetian  dialect,  La 
Puta  onorata,  remains  unfinished. 

Byrd  (or  Byrde,  Bird,  Byred),  William, 

b.  London,  1538;  d.  there  July  4,  1623.  Pupil 
of  Tallis,  and  (1554)  senior  chorister  at  St. 
Paul's;  1563,  organist  of  Lincoln  cath.;  1569, 
Gentleman  of  the  Chapel  Royal.  In  1575  a 
lucrative  patent  for  the  exclusive  privilege  of 
printing  music  and  selling  music-paper  was 
granted  to  Byrd  and  Tallis,  passing  wholly 
into  Byrd's  possession  on  Tallis*  death  (1585). 
B.  was  an  excellent  organist  and  skilful  con- 
trapuntist—one of  the  foremost  composers  of 
the  period. — Publ.  Works:  Cantiones  .  .  . 
sacra  ...  a  5-6;  Psalms ,  Sonets  and  Songs  of 
Sadnfis  and  Pietie  ...  a  5 ;  Songs  of  Sundrte 
Natures  ...  a  3-6;  Liber  Primus  Sacrarum 
Cantionum  a  5 ;  Liber  Secundus  (do.) ;  Gradu- 
alia  ac  cantiones  sacra  ...  a  5-6;  Psalms , 
Songs  and  Sonets  . . .  a  3-6;  separate  numbers 
in  various  colls.  ('MusicaTransalpina'  [1588]; 
Watson's  'Italian  Madrigales'  [1590];  'Par- 
thenia'  [1600J;  Leightonrs  Teares  or  La- 
mentaciones'  [1614;  part-songs];  Barnard's 
'Selected  Church  Music'  [1641;  services  and 
anthems];  Boyce's  'Cathedral  Music'  [do.]); 
music  for  virginals  and  organ  in  'Virginal 
Book  of  Queen  Elizabeth'  and  'Lady  NeviU's 
Virginal  Book.' — Newly  republ.:  A  Mass  in 
D  m.;  Book  I  of  the  Cantiones  sacra;  and 
several  pieces  in  Pauer's  'Old  English  Com- 
posers.'— See  Q.-Lex. 


Caballero.     See  Fbrnandbz-Caballero. 

Cabezon  [kah-be-th6V],  Don  (Felix)  Anto- 
nio de,  styled  by  Pedrell  'the  Spanish  Bach'; 
b.  Castrojeriz,  March  30,  1510;  d.  Madrid, 
May  26,  1566,  as  cembalist  and  organist  to 
King  Philip  II.  His  son  and  successor,  Her- 
nando, published  his  instrumental  works,  as 
'Obras  de  musica  para  tecla,  arpa  y  vihuela' 


133 


CABO-CAFFARELLI 


[Works  of  music  for  keyed  instrs.,  harp,  and 
lute]  (Madrid,  1578);  the  sole  extant  copy  is 
in  Berlin,  and  contains,  progressively  an*., 
2-  and  3-part  exercises,  arrangements  of 
hymn-tunes,  4-part  Tientos  (Ricercari),  and 
arr.  of  motets  by  Josquin  and  other  Nether- 
landers  up  to  6  parts.  Pedrell  has  brought 
out  a  new  edition  in  'Hispania;  schola  musica 
sacra'   (4  volumes). 

Ca'bo,  Francisco  Javier,  b.  Naguera,  n. 
Valencia,  1768;  d.  Valencia,  Nov.  21,  1832. 
In  1810  singer,  1816  organist,  1830  maestro  at 
the  Cathedral;  one  of  the  foremost  Spanish 
church-composers  who  preserved  the  tradi- 
tions of  the  Palestrina  style.  Wrote  masses, 
vespers,  motets,  etc.;  also  some  organ- music. 

Caccini  [kaht-chS'ne],  Giulio,  called  Ro- 
mano, because  born  at  Rome,  circa  1546;  d. 
Florence,  Dec.  10,  1618,  where  he  had  re- 
sided since  1565  as  singer  to  the  Tuscan 
court.  A  pupil  of  Scipione  della  Palla  in 
singing  and  lute-playing.  His  first  essays  in 
composition  were  madrigals  in  the  ancient 
polyphonic  style;  but  the  example  of  Vin- 
cenzo  Galilei,  and  his  own  surpassing  skill  as 
a  singer  (aided,  no  doubt,  by  the  discussions 
of  the  artists  and  literati  frequenting  the 
houses  of  Bardi  and  Corsi  at  Florence),  in- 
spired him  to  write  vocal  soli  in  recitative- 
form  (then  termed  musica  in  istile  rappresen- 
tativo),  which  he  sang  with  great  applause  to 
his  own  accomp.  on  the  theorbo.  Tnese  first 
essays  in  dramatic  music  were  followed  by 
his  settings  of  detached  scenes  written  by 
Bardi,  and  finally  by  the  opera  II  combattu 
mento  oVApoUine  col  serpente,  poem  by  Bardi; 
then  appeared  La  Dafne  (159/),  in  collabora- 
tion with  Peri,  poem  by  Rinuccini;  Eurydice 
(1600),  poem  by  Rinuccini;  and  //  rdpimento 
di  Cefato  (Oct.  9,  1600,  the  first  opera  ever 
prod,  in  a  public  theatre),  poem  by  Chiabrera. 
Eurydice,  upon  which  C.  based  his  claim 
as  the  originator  of  the  new  style,  was 
written  after  Peri's  comp.  of  the  same  text, 
although  both  works  were  produced  in  the 
same  year.  Another  epoch-making  work  was 
Le  nuove  musiche,  a  series  of  madrigals  for 
solo  voice,  with  bass  (1601;  1607;  1615).  He 
also  published  Nove  Arte  (Venice,  1608),  and 
Fug&lotio  musicale  (Venice,  1614;  madrigals, 
sonnets,  arias,  etc.).  Caccini  was  called,  by 
abbate  Angelo  Grillo,  the  'father  of  a  new 
style  of  music' ;  Bardi  said  of  him  that  he  had 
'attained  the  goal  of  perfect  music' — Cf.  A. 
Ehrich,  G.  C.  (Leipzig,  1908). — See  Q.-Lex. 

Cadaux  [kah-doh'],  Justin-,  b.  Albi  (Tarn), 
France,  April  13,  1813;  d.  Paris,  Nov.  8,  1874. 
Pupil  of  Zimmerman  (pf.),  and  Dourlen 
(harm.),  at  Paris  Cons. ;  comp.  6  comic  operas. 

Cadman,  Charles  Wakefield,  composer; 
b.  Johnstown,  Pa.,  Dec.  24,  1881.  Studied 
with    Pittsburgh    teachers,    including    Emil 


Paur  (1899-1909);  musical  critic  on  'Pitts- 
burgh Despatch';  organist  of  East  Liberty 
Presb.  Ch.;  conductor  of  'Pittsburgh  Male 
Ch.[;  student  of  Indian  Songs;  lectures  on 
Indian  lore  with  Princess  Tsianina  Red- 
feather,  Indian  mezzo-soprano;  has  appeared 
in  America,  London  and  Paris  since  1909. 
Member  Advisory  Council  for  Promotion  of 
Opera  in  English,  Amer.  Mus.  Soc.,  A.  G.  O., 
MS.  Soc. — works:  Triofor  vln.,  'cello  and 
pf.  in  D;  piano-sonata  in  A;  The  Vision  of 
Sir  Launfal,  cantata  for  male  voices  (prize 
comp.,  Pittsburgh,  November,  1909);  many 
Indian  songs,  and  part-songs;  many  pf.- 
pieces;  2  operas,  The  Land  of  Misty  Water 
(3-act),  and  The  Garden  of  Death  (1-act), 
have  not  yet  been  produced. 

Cady,  Calvin  Brainard,  b.  Barry,  III., 
June  21,  1851.  Pupil  of  Oberlin  Cons.;  from 
1872-4  at  Leipzig  Cons.,  where  his  teachers 
were  E.  Fr.  Richter  (harm.,  cpt.),  Papperitz 
(org.),  and  O.  Paul  (pf.,  comp.);  taught 
harm,  and  pf.  at  Oberlin  Cons.,  1874-9;  act. 
prof,  of  music  at  Univ.  of  Mich.,  1880-8; 
until  1894,  prof,  at  Coll.  of  Music  and  editor 
'Music  Review*  (1892-4)  in  Chicago;  then 
lived  in  Boston  as  lecturer;  since  190/ lecturer 
on  music  at  Columbia  Univ. ;  since  1908  also 
at  Inst,  of  Musical  Art  as  lecturer  on  musical 
pedagogy;  advocates  the  appreciation  of 
music  as  essential  in  all  courses  leading  to  a 
liberal  education.  Has  written  Musical 
Education  (3  vols.,  1902-7). 

Csecilia.    See  Cecilia. 

Cafa'ro,    Pasquale    (called    Caffarelli), 

noted  composer;  b.  San  Pietro  in  Galatina, 
province  of  Lecce,  Italy,  Feb.  8,  1706;  d. 
Naples,  Oct.  23,  1787.  Pupil  of  L.  Leo  in 
Naples  Cons,  della  Pieta,  and  Leo's  successor 
in  1745. — Wrote  operas,  oratorios,  cantatas, 
etc. ;  a  Stabat  Mater  in  2  parts,  with  organ,  is 
specially  noteworthy. — See  Q.-Lex. 

Caffarelli  (real  name  Gaetano  Majora- 

no),  brilliant  soprano  (musico);  b.  Bari,  April 
16,  1703;  d.  on  his  estate  Santo- Dorato,  near 
Naples,  Nov.  30,  1783.  A  poor  peasant-boy, 
endowed  with  a  beautiful  voice,  he  was  dis- 
covered by  a  musician  named  Caffaro  (not 
Pasquale  Cafaro),  who  taught  him,  and  sent 
him  to  Porpora  at  Naples.  In  gratitude  to 
his  patron  he  assumed  the  name  of  Caffarelli. 
After  5  years'  hard  study  Porpora  dismissed 
him  with  the  words:  'Go,  my  son,  I  have . 
nothing  more  to  teach  you;  you  are  the 
greatest^  singer  in  Italy  and  in  the  world.' 
He  was  indeed  a  master  of  pathetic  song,  and 
excelled^  in  coloratura  as  well;  he  read  the 
most  difficult  music  at  sight,  and  was  an 
accomplished  harpsichord-player.  His  debut 
at  the  Teatro  Valle  (Rome,  1724)  in  a  female 
rdle  (such  was  the  custom  for  artifical  so- 
prani) was  attended  by  a  perfect  ovation;  his 


134 


CAFFI— CALEGARI 


renown  increased  from  year  to  year.  In  1738 
he  sang  in  London,  and  apparently  made 
little  impression;  but  in  Italy,  Spain,  Paris 
and  Vienna,  he  was  triumphantly  successful. 
He  amassed  a  fortune,  bought  the  dukedom 
of  Santo- Dora  to,  and  assumed  the  title  of  duke. 

Caf'fi,  Francesco,  b.  Venice,  1786;  d. 
Padua,  February,  1874.  Wrote  a  Storia  delta 
musica  sacra  nella  gi&  Cappella  Ducale  di  S. 
Marco  in  Venetia  dal  1318  at  1797  (2  vols.; 
Venice,  1854,  '55),  an  important  and  trust- 
worthy work;  also  monographs  on  Bona  Ven- 
tura Furlanetto  (1820);  Zarhno  (1836);  Lotti, 
and  Benedetto  Marcello  (in  Cicognia's  'Vene- 
tiani  Iscritioni') ;  and  Giammateo  A  sola 
(Padua,  1862). 

Caffiaux  [kah-f'yoh'],  Dom  Philippe-Jo- 
seph, b.  Valenciennes,  1712;  d.  abbey  of 
St.-Germain  des  Pres,  Paris,  Dec.  26,  1777. 
Benedictine  monk;  his  MS.  Histoire  de  la 
musique  (in  Paris  Library)  is  praised  by 
Fetis. 

Cagnlard  [kahn-yahr']  de  la  Tour, 
Charles,  Baron  de;  b.  Paris,  May  31, 
1777;  d.  there  July  5,  1859.  Improver  of 
the  'Syren*  used  to  record  the  vibration- 
numbers  of  tones. 

Cagno'ni  [kahn-yoh'ne],  Antonio,  b.  Go- 
diasco,  near  Voghera,  Feb.  8,  1828;  d.  Ber- 
gamo, April  30, 1896.  Studied  at  Milan  Cons. 
(1842-7)  under  Ray  and  Frasi;  as  a  student 
3  of  his  operas  were  produced  in  the  Cons. 
Th. :  Rosalia  di  S.  Miniato  (semi-seria,  1845) ; 
I  due  Savojardi  (do.,  1846);  and  Don  Bucefalo 
Ihis  masterwork]  (buffa,  1847).  From  1852-73 
he  was  m.  di  capp.  in  the  cathedral  of  Vige- 
vano;  1873,  succeeded  Cossia  as  m.  di  capp. 
in  the  cathedral  of  Novara;  1887,  m.  di  capp. 
in  S.  Maria  Maggiore,  Bergamo.  From  1848- 
74  he  brought  out  some  15  more  operas  at 
Rome,  Genoa,  Turin,  Milan,  etc.  He  left  3 
operas:  Gli  amori  di  Cleopatra  (buffa,  comp. 
circa  1870),  Re  Lear  (finished  1893,  5  acts), 
and  II  Carabiniere  (in  rough  sketch). 

Cahen  fkahn],  Albert,  composer;  b.  Paris, 
Jan.  8,  1846;  d.  Cap  d'Ail,  March,  1903. 
Pupil  of  Mme.  Szarvady  (pf.)  and  Cesar 
Franck  (comp.). — Works:  Jean  le  PrScurseur, 
biblical  poem  (1874);  Le  Bois,  comic  opera 
(1880,  Opera-Com.);  Endymion,  mythological 
poem  (1883);  La  Belle  au  bois  dormant,  fairy 
opera  (Geneva,  1886);  Le  Vcnitien,  4-act 
opera  (Rouen,  1890);  Fleur  des  neiges,  ballet 
(Brussels,  1B91);  La  Femme  de  Claude,  3-act 
lyric  drama  (Paris,  1896,  Opera-Com.;  un- 
successful). 

Cahen,  Ernest,  b.  Paris,  Aug.  18,  1828; 
d.  there  Nov.  8,  1893.  Pupil  of  the  Cons., 
taking  first  prize  for  harm,  and  accomp.  in 
1847,  and  the  second  Grand  Prix  for  comp. 
in  1849.   Pianist  and  teacher;  also  'professeur 


135 


adjoint*  at  the  Cons. — Works:  2  operettas, 
Le  Calf  at  (1853),  and  Le  Souper  de  Mezzetin 
(1859),  both  produced  at  the  Folies-Nouvelles. 

Cahn-Speyer,  Rudolf,  b.  Vienna,  Sept. 
1,  1881.  A  student  of  chemistry,  but  at  the 
same  time  studied  music  with  H.  Gradener  at 
Vienna;  while  taking  courses  in  science  at 
the  Univ.  of  Leipzig,  he  continued  his  musical 
studies  with  Jadassohn,  Krehl  and  Riemann; 
took  courses  in  musicology  under  Sandmann 
at  Univ.  of  Munich  in  1906;  graduated,  1908, 
with  dissertation  Franz  Seyaelmann  als  dra- 
matischer  Komponist  (Leipzig,  1909);  then 
studied  with  L.  Thuille  and  A.  Beer-Wal- 
brunn;  conducted  at  Kiel  (1908)  and  Ham- 
burg (1909-11);  since  1911,  prof,  at  Klind- 
worth  Cons,  in  Berlin.  Has  written  Zur 
Opernfrage.  Das  Wesen  der  Oper  und  ihre 
Entwtcklung  in  der  Gegenwart  (Leipzig,  1913). 

Calda'ra,  Antonio,  b.  Venice,  1678;  d. 
Vienna,  Dec.  28,  1736.  Prolific  composer  of 
operas  and  sacred  dramas  (70),  oratorios, 
masses,  and  other  church-music,  chamber- 
music,  etc.  He  lived  in  Bologna  and  Mantua; 
in  1714  was  app.  Imp.  chamber-composer  at 
Vienna,  and  from  Jan.  1,  1716,  was  assistant 
Kapellm.  to  J.  J.  Fux. — See  Q.-Lex. 

pddicott,  Alfred  James,  b.  Worcester, 
England,  Nov.  26,  1842;  d.  near  Gloucester, 
Oct.  24,  1897.  Chorister  in  Worcester  cath., 
1851,  and  articled  to  the  organist,  Done,  in 
1856.  He  studied  at  Leipzig  Cons,  under 
Moscheles,  Hauptmann,  etc.;  and  in  1864  be- 
came org.  of  St.  Stephen's  church,  Worcester, 
and  Corporation  organist.  Took  degree  of 
Mus.  Bac,  Cantab.,  1878;  was  app.  prof,  at 
R.  C.  M.,  London,  in  1883;  from  1885-9 
was  cond.  at  the  Albert  Palace,  Battersea; 
1890-1,  cond.  of  Huntingdon's  travelling 
opera-company  in  America;  1892,  dir.  of  R. 
£  M.;  1893,  cond.  at  Comedy  Th.,  London. 
— Works:  Several  cantatas,  The  Widow  of 
Nain  (1881),  A  Rhine  Legend  (for  women's 
voices,  1883),  Queen  of  the  May  (do.);  13 
operettas,  numerous  successful  glees,  a  score 
of  songs,  etc.  His  humorous  part-song 
Humpiy  Dumpty  (special  prize  at  Man- 
chester, 1878)  was  exceedingly  popular. 

Calega'ri,  Antonio,  b.  Padua,  Feb.  17, 
1757;  d.  there  July  22,  1828.  Dramatic 
composer,  who  brought  out  3  operas  in 
Venice:  Le  Sorelle  rivali  (1784),  UAmor  soldato 
(1786),  and  //  Matrimonii)  scoperto  (1789); 
living  in  Padua,  1800;  publ.  (Venice,  1801) 
a  curious  treatise  on  composition:  Gioco 
fittagorieo  tnusicalet  republ.  in  Paris,  where 
he  lived  for  several  years,  as  L'art  de  composer 
la  musique  sans  en  connattre  les  Slements 
(1802).  Returning  to  Padua,  he  was  organist 
at  the  Ch.  of  San  Antonio  till  his  decease. 
Subsequently,    2    more   works   were   publ.: 


C  ALEG  ARI— C  ALVISI  US 


Sistema  armonico  (1829),  and  a  vocal  method, 
Modi  generali  del  canto  (1836). — See  Q.-Lex. 

Calega'ri  (or  Callegari),  Francesco  An- 
tonio, b.  Padua,  before  1700;  d.  there  1742. 
He  was  a  Franciscan  monk,  1702-24  m.  di 
capp.  in  the  Minorite  monastery  at  Venice, 
and  then  in  Padua,  at  the  Ch.  of  San  Antonio, 
until  1728.  He  wrote  a  theoretical  treatise 
Ampia  dimostrazione  degli  armoniali  musical* 
tuoni  (MS.  at  Bergamo);  also  sacred  music 
and  chamber-music. — See  Q.-Lex. 

Calet'ti-Bru'ni.    See  Cavalu. 

Calkin,  John  Baptfete,  b.  London,  Mar. 
16,  1827;  d.  there  May  15,  1905.  Pianist, 
organist,  and  composer;  pupil  of  his  father, 
James  Calkin;  was  organist,  precentor,  and 
choirmaster  at  several  churches;  app.  1899 
prof,  at  Guildhall  School  of  Music.  Besides 
several  services,  and  many  anthems,  glees, 
part-songs,  and^  songs,  he  publ.  a  string- 
quartet,  a  pf.-trio,  a  sonata  t.  pf.  and  'cello, 
various  pes.  for  pf.,  and  organ-music. 

Callaerts  [-lahrts],  Joseph,  b.  Antwerp, 
Aug.  22,  1838;  d.  there  Mar.  3,  1901.  Pupil 
of  Lemmens  in  Brussels  Cons.  Org.  (1851—6) 
of  the  Jesuit  college,  later  of  the  cathedral 
at  Antwerp,  and  organ- teacher  at  the  Music- 
School  from  1876. — Works:  Comic  opera  Le 
Retour  imprhu  (Antwerp,  1889);  a  prize- 
symphony  (1879)  and  a  prize  pf.-trio  (1882); 
organ-  and  pf. -music;  cantatas,  masses, 
litanies,  etc. 

Callcott,  John  Wall,  b.  Kensington, 
Nov.  20,  1766;  d.  Bristol,  May  15,  1821. 
He  received  some  instruction  from  Henry 
Whitney,  organist  of  Kensington  Parish 
Church,  but  was  chiefly  self-taught  in  early 
youth;  he  attracted  the  attention  of  Dr. 
Arnold,  Dr.  Cooke,  and  John  Sale,  who 
aided  him.  From  1783-5  he  was  deputy 
organist  to  Reinhold,  at  St.  George  the 
Martyr;  in  the  latter  year  he  won  3  prize- 
medals  for  a  catch,  O  beauteous  fair;  a  canon, 
Blessed  is  Ar;  and  a  glee,  Dull  repining  sons 
of  care;  he  joined  the  orchestra  of  the  Acad, 
of  Antient  Music,  and  also  took  the  degree 
of  Mus.  Bac.  (Oxon.).  He  was  a  co-founder 
of  the  Glee  Club  (1787);  joint-org.  of  St. 
Paul's,  Covcnt  Garden  (1788);  in  1789  he 
won  all  the  prizes  offered  by  the  'Catch 
Club,'  and  became  organist  of  the  Asylum 
for  Female  Orphans  (1792-1802).  He  studied 
instrumental  comp.  w.  Haydn  in  1790;  in 
1800  he  was  made  Mus.  Doc.  (Oxon.).  App. 
lecturer  on  music  at  the  Royal  Institute, 
succeeding  Dr.  Crotch  (1806),  his  mind  gave 
way  under  the  strain  incident  to  this  position 
and  overwork  on  his  pet  scheme,  a  dictionary 
of  music,  which  was  never  completed.  His 
Grammar  of  Music  (1805)  was  a  standard 
elementary  text-book.  Many  of  his  numerous 
glees,  catches,  and  canons  are  real  works  of 


art.  A  memoir  of  C.  was  prefixed  to  a 
'Collection  of  Glees,  Canons,  and  Catches/ 
by  W.  Horsley  (London,  1824;  2  vols.).— See 
Q.-Lex. 

Callcott,  William  Hutchlns,  son  of  pre- 
ceding; b.  Kensington,  1807 y  d.  London, 
Aug.  4,  1882.  Organist,  pianist,  and  com- 
poser; he  wrote  a  good  deal  of  popular  vocal 
music  (songs,  anthems),  and  pf. -music 
(chiefly  instructive  pes.  and  arrangements). 

Calllnet.   See  Daublainb  et  Cie. 

Calve1,  Emma  [real  name  Emma  Roquer], 

dramatic  soprano;  b.  Decazeville,  near  Avey- 
ron,  southern  France,  in  1863  [or  1866?]. 
Educated  from  10-15  in  the  Convent  of  the 
Sacred  Heart,  Montpellier;  studied  1880-2  in 
Paris  with  Puget,  the  former  stage-tenor. 
Debut  as  Marguerite  at  the  Monnaie  in 
Brussels,  Sept.  29,  1882;  sang  there  for  one 
year,  studied  for  another  year  under  Mme. 
Marchcst,  and  created  |.he  role  of  Bianca  in 
Aben  llamel  at  the  Th.-Italicn,  Paris,  Dec 
16,  1884;  soon  after,  she  entered  the  Opera- 
Comique,  and  remained  there  till  1887.  Her 
successes  received  a  temporary  check  at  La 
Scala,  Milan,  in  Jan.,  1887,  when  she  was 
hissed  as  Ophelia,  but  she  scored  a  triumph 
there,  after  18  months'  study  with  Laborde, 
in  the  same  rdle.  She  created  Santuzza  in 
Cavalleria  Rusticana  (1890);  was  eng.  at  the 
Opera-Comique  for  two  years  (1891-3);  sang 
1892  at  Covent  Garden  with  great  applause; 
eng.  by  Abbey  and  Gran  for  M.  O.  H.  in 
1893;  New  York  debut  Nov.  29,  1893,  as 
Santuzza;  played  Carmen  on  Dec.  20,  and 
made  an  indescribable  sensation.  Sang  at 
the  Opera-Comique,  season  of  1894-5;  then 
toured  Europe  (Madrid,  Monte  Carlo,  Petro- 
grad);  created  La  Navanraise  in  Oct.,  1895; 
began  second  American  tour  on  Nov.  20, 
1895;  created  Sapho,  Nov.  29,  1897,  at 
Paris.  Since  then,  her  career  has  been 
an  uninterrupted  succession  of  triumphs. 
In  1903-4,  eng.  in  Paris  at  the  Opera  Muni- 
cipal du  Theatre  de  la  Gaite;  in  1908  at  the 
Manh.  Op.  House,  N.  Y.,  where  her  Carmen 
aroused  the  same  enthusiasm  as  before;  after 
1910  she  practically  retired  from  the  stage, 
confining  herself  to  concert-appearances. 
The  sensational  success  of  her  Carmen  is 
undoubtedly  responsible  for  the  fact  that  she 
has  been  heard  in  only  a  limited  repertoire. 
Besides  the  roles  mentioned,  she  has  also 
sung  the  chief  soprano  r61es  in  Mefistofele, 
Messaline,  l'Herodiade9  Les  Plcheurs  de 
Pcrles—Ci.  A.  Wisner,  £.  C;  Her  Artistic 
Life,  etc.  (N.  Y.,  1902). 

Calvi'sius,  Sethus  (real  name  Seth 
KalTwitz),  son  of  a  poor  peasant  at  Gorsch- 
leben,  Thuringia;  b.  Feb.  21,  1556;  d.  Leipzig, 
Nov.  24,  1615.  By  his  own  efforts  (at  first 
as  a  street-singer  tor  alms,  afterwards  as  a 


136 


CALVOCORESSI— CAMPAGNOLI 


teacher)  he  supported  himself  while  studying 

in   the   Gymnasia    of    Frankenhausen   and 

Magdeburg,  and  the  Universities  at  Helm- 

stadt  and  Leipzig.     In  Leipzig  he  became 

(1581)  mus.  director  at  the  Paulinerkirche; 

from  1582-92  he  was  cantor  at  Schulpforta,. 

then  cantor  of  the  Thomasschule  at  Leipzig, 

and  (1594)  musical  dir.  at  the  Thomaskirche 

and  Nicolaikirche  there.    C.  was  not  only  a 

musician,  but  a  scholar  of  high  and  varied 

attainments.       His    writings    are    valuable 

sources;   Melopoeia  sen  melodiae  condendae 

ratio  (1582);  Compendium  musicae  practicae 

pro  incipienHbus  (1594;  3d  ed.  as  Musicae 

artis  praccepta  nova  et  facillima,  1612);  Exer- 

citationes  musicae  duae   (1600);   Exercitatio 

musicae  tertia  (1611). — Publ.  compositions: 

Auserlesene  teuische  Lieder  (1603) ;  Biciniorum 

libri  duo  (1612);  the  150th  Psalm  (12  parts); 

a  coll.,  Harmoniae  eantionum  ecclesiasticarum 

a  M.  Luthero  et  aliis  viris  pits  Germaniae 

compositarum  4  voc.  (1596);  and  a  4-p.  arr. 

of  C.  Becker's  psalm-tunes  (1602,  '16,  '18, 

'21).      MS.    motets,    hymns,    etc.,    in    the 

Thomasschule     Library,     Leipzig.— Cf.     K. 

Benndorf,    S.    C.    als    Musittheoretiker,    in 

'Vschr.  f.  M.-W.',  1894.— See  Q.-Lex. 

Calvocores'si,  Michel  D.,  b.  (of  Greek 
parents)  Marseilles,  Oct.  2,  1877.  Having 
received  an  excellent  classical  ed.  at  the 
'Lycee  Janson-de-Sailly*  at  Paris,  he  took  up 
the  study  of  music  with  X.  Leroux;  since 
1905  prof,  at  the  'fecole  des  Hautes  Etudes 
Sociales'  and  correspondent  for  numerous  Fr. 
and  foreign  journals  ('Mercure  de  France.' 
'Guide  Musical,'  'Musical  Times'  [London], 
•New  Mus.  Rev.'  [N.  Y.],  'Die  Musik' 
[Berlin],  'Muzika'  [Moscow],  etc.);  an  ex- 
cellent lecturer,  he  has  been  indefatigable 
in  his  propaganda  of  Russian  music  in 
France  and  England,  for  which  he  was 
made  officer  of  the  order  of  St.  Anna  in 
1908;  together  with  L.  Vallas,  ed.  of  'Revue 
francaise  de  Musique';  a  capable  translator 
of  songs  and  operas  (into  Fr.,  Engl,  and 
Ger.).  Has  published  La  Musique  russe 
(1907>,bioeraphiesof  Listt  (1907),  Moussorgsky 
(1908),  Glinka  (1913),  Schumann  (1913);  tr. 
Rimsky-Korsakov's  Treatise  on  Orchestration 
into  French  (1914). 

Gambert  [kahn-barl,  Robert,  (the  first 
French  opera-composer,  preceding  Lully),  b. 
Paris  c.  1628;  d.  London,  1677.  Pupil  of 
Chambonnieres;  org.  at  St.-Honore;  intendant 
of  music  (1666)  to  the  queen-dowager  Anne  of 
Austria.  His  first  venture  on  the  lyric  stage 
was  La  Pastorale,  written  by  Perrin  and  suc- 
cessfully produced  at  the  Chateau  d'Issy  in 
1659);  it  was  followed  by  Ariane,  ou  It  Ma- 
riage  de  Bacchus  (rehearsed  in  1661),  and 
Adonis  (1662;  not  perf.;  MS.  lost).'  Perrin 
having  received,  in  1669,  letters  patent  for 


establishing  the  'Academie  royale  de  musique' 
(the  national  operatic  theatre,  now  the  Grand 
Opera),  brought  out,  in  collaboration  with 
C.,  the  first  real  opera,  Pomone  (1671);  a 
second,  Les  Peines  et  les  plaisirs  de  I'amour, 
was  written,  but  never  produced,  Lully 
having  meantime  (1672)  had  the  patent 
transferred  to  himself.  [These  last  2  operas 
have  been  publ.  in  'Chefs-d'oeuvre  classiques 
de  l'opera  francais'  (Leipzig,  Breitkopt  & 
Hart  el).]  C.'s  disappointment  drove  him 
to  London;  he  became  a  bandmaster,  and 
died  as  Master  of  the  Musk  to  Charles  II. 
— Cf.  A.  Pougin,  Les  vrais  createurs  de  V opera 
francais,  Perrin  et  C.  (Paris,  1881). 

Cambl'ni,  Giovanni  Giuseppe,  b.  Leg- 
horn, Feb.  13,  1746;  d.  BicStre,  Dec.  29, 
1825.  A  pupil  of  Padre  Martini{  and  a  most 
prolific  composer  of  mediocre  instrumental 
works,  writing  over  60  symphonies  within  a 
few  years.  He  lived  chiefly  in  Paris  as  a 
ballet-composer  and  conductor;  he  died  in 
the  almshouse.— Other  comps.:  144  string- 
quartets;  ballets,  operas,  oratorios,  etc. 

Camet'ti,  Alberto,  b.  Rome,  May  5, 
1871.  Pupil  of  the  Cons,  della  Accademia 
di  S.  Cecilia;  m.  de  ch.  at  St.  Louis'  in  Rome; 
member  of  the  commission  app.  by  Pope 
Pius  X  to  investigate  the  condition  of  church 
music.  Has  publ.  many  sacred  and  secular 
comps.,  but  is  more  important  as  a  writer. 
Princ.  works:  Cenni  storici  di  G.  P.  da  Pale- 
strina  (Milan,  1895);  //  testamento  di  JacobeUo 
Pierluigi  (1903);  Cristina  di  Suezia,  Varte 
musicale  e  gli  spettacoli  in  Roma  (1911); 
Document*  ineditt  su  Luigi  Rossi  (Leipzig, 
1912);  Chi  era  VIppolita  del  cardinale  di 
Montalto?  (1913);  several  valuable  essays  in 
'Riyista  Musicale'  {Bellini  a  Roma  [1900], 
Donizetti  a  Roma  [1904*7],  Mozart  a  Roma 
[1907],  Frescobaldi  a  Roma  [1908],  etc.). 

Camidge,  John,  b.  circa*  1735;  d.  York, 
Engl.,  Apr.  25,  1803.  He  was  organist  at 
York  cath.  for  47  years.— Publ.  Six  Easy 
Lessons  for  the  Harpsichord;  other  music  f . 
harpsich.;  church-music,  glees,  songs. 

Camidge,  John  (son  of  Matthew),  b. 
York,  1790";  d.  there  Sept.  29,  1859.  Org.  of 
York  cath.  1844-59;  Mus.  Doc.  (Lambeth), 
1855.  Publ.  a  Service,  anthems,  5  double- 
chants;  6  glees  f.  3  and  4  voices;  etc. 

Cartridge,  Matthew,  b.  York,  1758;  d. 
there  Oct.  23,  1844;  son  of  John,  Sr.,  whom 
he  succeeded  at  York  cath.  (1803-44).  Publ. 
Cathedral  Music;  24  Original  Psalm-  and 
Hymn-tunes;  sonatas  and  marches  f.  pf.;  a 
Method  of  Instruction  in  Music  by  Questions 
and  Answers,  etc. 

Campagnoli  [-pah-noh'le],  Bartolommeo, 

b.  Cento,  Sept.  10,  1751;  d.  Neustrelitz,  Nov. 
6,  1827.     Renowned  violinist,  pupil  of  Dal- 


137 


CAMPANA— CAMPBELL-TIPTON 


rOcha  and  Guastarobba  at  Modena,  later 
of  Nardini  at  Florence.  After  several  years 
of  concert-giving  in  Italy,  he  became  leader 
(1776)  of  the  Abbot  of  Freising's  orch.;  was 
later  mus.  dir.  to  the  Duke  of  Kurland  in 
Dresden  (whence  he  made  successful  concert- 
tours);  1797-1818,  he  was  leader  at  Leipzig; 
finally  he  became  court  Kapellm.  at  Neu- 
strelitz. — Works:  Chamber-music;  concerti  f. 
flute;  1  violin-concerto;  7  celebrated  Diver- 
tissements (studies  f.  vln.);  41  Caprices  pour 
Valla-viola  (op.  22) ;  a  MUhode  de  la  mScanique 
progressive  du  jeu  du  violon  (Leipzig,  1824); 
etc. — See  Q.-Lex. 

Campa'na,  Fabio,  b.  Leghorn,  Jan.  14, 
1819;  d.  London,  Feb.  2,  1882.  From  the 
beginning  of  his  career  he  lived  in  London, 

S3pular  as  a  singing- teacher  and  composer, 
esides  hundreds  of  songs  w.  pf.-acc.,  he 
wrote  the  operas  Caterina  di  Guisa  (Leghorn, 
1838),  Giullo  d'Este  (Venice,  1841),  Vannina 
d'Ornano  (Florence,  1842),  Luisa  di  Francia 
(Rome,  1844),  Almina  (London,  H.  M.'s  Th., 
1860),  and  Esmeralda,  o  Nostra  Donna  di 
Parigi  (Petrograd,  1869). 

Campana'ri,  Giuseppe,  eminent  dramatic 
baritone;  b.  Venice,  1859.  While  playing  in 
the  orch.  at  La  Scala  in  Milan  he  began  to 
study  singing;  came  to  the  U.  S.  in  1884, 
and  was  a  cellist  in  the  Boston  Syraph. 
Orch.  until  1893;  debut  as  leading  bar.  of 
G.  Hinrichs*  Op.  Co.  in  New  York,  1893; 
in  his  first  season  he  sang  Tonio  in  Pagliacei 
in  the  first  Amer.  perf.,  and  was  recognized 
at  once  as  an  artist  of  unusual  ability;  from 
1895-8  member  of  M.  O.  H.;  since  then  he 
has  devoted  himself  chiefly  to  concert-work 
and  teaching;  now  (1916)  living  in  New 
York. 

Campana'ri,  Leandro,  violinist;  b.  Ro- 
vigo,  Italy,  Oct.  20,  1857;  st.  Milan  Cons., 
graduating  1877.  European  tours,  2  years; 
in  America  1881,  debut  at  Boston  (Symph. 
Orch.)  very  successful.  Settled  in  Boston, 
and  organized  Campanari  String-quartet; 
1883,  mus.  dir.  of  choir,  Jesuit  Ch.,  and  1st 
prof,  of  violin  in  N.  E.  Cons.;  1887-90  in 
Europe;  1890  first  prof,  of  vln.  and  head  of 
orchl.  dept.  in  Cincinnati  Cons.;  1897-1905, 
director  and  conductor  of  the  grand  orchestral 
concerts  in  La  Scala  Th.,  Milan,  and  on 
tours;  1906  for  a  short  time  cond.  at  Manh. 
Op.  House,  and  (during  Scheel's  illness) 
of  the  Phila.  Symph.  Orch.;  since  1907  living 
in  San  Francisco  as  a  successful  teacher  ot 
of  vl.  and  singing.— Works:  Text-books  for 
violin;  numerous  songs. 

Campani'ni,  Cleofonte,  eminent  cond. 
and  op.  manager;  b.  Parma,  Italy,  Sept.  1, 
1860.  Pupil  at  Cons,  of  Parma  (1870-8)  of 
Ferrarini  (vl.);  later  of  Bazzini  at  Milan; 
debut  as  cond.  with  Carmen  at  Parma,  in 


1883;  the  same  year  he  became  asst.-cond. 
to  Vianesi  during  the  first  season  of  opera 
at  the  new  M.  O.  H.;  was  brought  over 
specially  in  1887  to  conduct  the  first  Amer. 
perf.  of  OteUo  at  the  M.  O.  H.;  then  was 
first  cond.  at  various  Italian  theatres,  La 
Scala  (Milan,  1903-6),  San  Carlo  (Naples, 
1  year);  made  extensive  tours  of  Spain, 
Portugal  and  South  America;  cond.  Cov. 
Garden  Th.  from  1900-12.  A  larger  field 
opened  to  him  in  1906,  when  Hammerstein 
engaged  him  for  the  new  Manhattan  Opera 
House  in  New  York.    C;  was  not  only  the 

Erincipal  cond.,  but  also  the  artistic  director. 
[is  success  was  such  that  at  the  end  of 
the  first  season  the  new  company  had  become 
a  dangerous  rival  of  the  older  M.  O.  H. 
Differences  with  Hammerstein  led  C.  to 
resign  in  1909.  In  the  following  year  he  was 
engaged  as  princ.  cond.  of  the  newly  formed 
Chicago  Opera  Co.,  where  he  had  practically 
autocratic  power;  in  1913  he  was  app.  general 
director,  which  post  he  still  holds.  Among 
operatic  conductors  he  occupies  a  place  in  the 
first  rank;  in  all  styles  of  music  he  seems  to 
be  equally  at  home.  Since  1906  he  has  intro- 
duced the  following  novelties  into  the  U.  S.: 
Massenet's  Thais,  Jongleur  de  Notre-Dame, 
Grisilidis,  Sapho,  Herodiade,  CendriUon,  Cleo- 
pdtre9  Marie  Madeleine;  Debussy's  Pelleas  et 
\jfLli*n«A*.   rharrv»ntif»r's    I^ouise:   Wolf-Fer- 


mark's  The  Cricket  on  the  Hearth;  Erlanger's 
Noel,  Aphrodite;  Kienzl's  Ranz  des  Vaches; 
Franchetti's  Cristoforo  Colombo;  Gnecchi's 
Cassandra;  Nouges'  Quo  Vadis?;  Herbert's 
Natoma;  Blockx's  Princesse  d'Auberge;  Samt- 
Saens'  Dljanire;  Buchhalter's  A  Lover's  Knot; 
Gunsbourg's  Le  vieil  Aigle. 

Campani'ni,  Italo,  brilliant  operatic 
tenor;  b.  Parma,  June  29,  1846;  d.  Bigatto, 
n.  Parma,  Nov.  22,  1896.  St.  3  years  in 
G.  Griffini's  School  of  Music.  Debut  1869,  at 
Odessa,  in  Trovatore;  sang  for  some  years 
without  marked  success,  then  studied  with 
Lamperti,  and  reappeared  at  Florence,  1871, 
in  Lohengrin,  with  great  applause.  London 
debut  1872,  as  Gennaro  in  Lucrezia  Borgia. 
Tours  in  U.  S.  A.,  1873  and  1879-80  (with 
Nilsson),  1892  (w.  Patti),  and  1894.  Since 
1883,  lived  principally  in  New  York.  Sang 
leading  r61es  in  Lohengrin,  Mefistofele,  Faust, 
Carmen,  Don  Juan,  Lucia  di  Lammermoor, 
Huguenots,  Ruy  Bias,  etc. 

Campbell-Tipton,  Louis,  composer;  b. 
Chicago,  Nov.  21,  1877.  Studied  with 
various  teachers  in  Chicago  and  Boston; 
pupil  of  Royal  Cons,  at  Leipzig  (1896-9), 
studying  theory  and  pf.  with  Carl  Reinecke, 
Gustav  Schreck,  and  Weidenbach;  returned 
to  Chicago  and  was  instr.  of  theory  at  the 


138 


CAMPENHOUT— CANDEILLE 


Chicago  Mus.  Coll.  from  1900-5;  since  then 
living  as  private  teacher  in  Paris.  His  work 
is  highly  colored,  vigorous,  with  a  strong 
leaning  towards  the  dramatic.  Has  written 
so  far  chiefly  for  pf.  (Sonata?  Heroic,  Sea 
Lyrics,  The  Four  Seasons,  suite,  serenade, 
etc.),  Suite  pastorale  f.  pf.  and  vln.;  also  a 
number  of  very  effective  songs.  Has  several 
larger  works  in  MS. 

Cam'penhout,  Francois  van,  b.  Brussels, 
Feb.  5,  1779;  d.  there  Apr.  24,  1848.  Begin- 
ning as  violinist  in  the  Th.  de  la  Monnaie,  he 
studied  singing  under  Plantade,  and  became 
a  fine  stage-tenor,  appearing  in  Belgium, 
Holland,  and  France.  Retired  1827,  and 
wrote  6  operas,  several  other  stage-pieces, 
9  cantatas  w.  orch.,  choruses,  masses,  Te 
Deums,  songs,  etc.  He  is,  however,  chiefly 
remembered  as  the  composer  of  La  Braban- 
conne,  which  was  written  during  the  revolution 
of  1830,  and  has  since  become  the  national 
air  of  Belgium. 

Campion  [kahn-p'yohn'],  Francois,  the- 
orl  ist  (1703-19)  at  Grand  Opera,  Paris.— Publ. 
NouveUes  decouvertes  sur  la  Guitare,  etc. 
( 1 705) ;  TraitS  d'accotnpagnement  pour  le  thSorbe 
(1770);  Traite  de  composition,  etc.  (1716); 
and  a  supplement  (Additions)  to  the  last 
two  (1739).— See  Q.-Lex. 

Campion,  Thomas,  English  physician; 
also  poet,  composer,  and  dramatist;  d. 
London,  Feb.,  1619.— Publ.  Two  Books  of 
Ayres,  etc.  (1610),  followed  by  2  more  (1612); 
Ayres  for  the  Masque  of  Flowers  (1613); 
Songs  of  Mourning  [for  Prince  Henry]  (1613); 
A  New  Way  of  Making  Foure  Parts  %n 
Counterpoint  (1618;  also  in  Playford's  'Introd. 
to  the  Skill  of  Musick,'  1655). — See  Q.-Lex. 

Campio'ni,  Carlo  Antonio,  b.  Leghorn, 
c.  1720;  d.  Florence,  1793,  as  m.  di  capp.  to 
the  Tuscan  court.  Comp.  church-music  (a 
fine  Te  Deum);  also  publ.  7  vols,  of  violin- 
duets,  with  basso  cont. — See  Q.-Lex. 

Campore'se,  Violante,  soprano  stage- 
singer;  b.  Rome,  1785;  d.  there  1839.  Before 
1814,  engaged  for  Napoleon's  private  music; 
stage-debut  in  London,  1817  (Haymarket). 
Engaged  until  1818,  and  again  from  1821-3; 
sang  at  the  Antient  and  Philh.  Concerts, 
1824-5.    Retired  1829. 

Campos,  Joao  Ribelro  de  Almeida  de, 

b.  Vizen,  Portugal,  c.  1770;  d.  (?);  m.  di 
capp.,  also  professor  and  examiner  for 
church-singing,  at  Lamego  in  1800.  Publ. 
Eiementos  de  musica  (1786)  and  Elem.  de 
cantochSo  [Plain-Song]  (1800,  and  many 
later  editions). 

Campra  [kahn'-J,  Andrt,  French  opera- 
comp.;  b.  Aix  (Provence),  Dec.  4,  1660;  d. 
Versailles,  July  29,  1744.  A  pupil  of  Guil- 
laume  Poitevin,  he  was  app.  maitre  de  mus. 


at  Toulon  cathedral  at  the  age  of  20;  in 
1681,  m.  de  chap,  at  Aries,  and  from  1683-94 
at  Toulouse  cath.  Going  thence  to  Paris,  he 
was  at  first  m.  de  chap,  at  the  Jesuit  collegiate 
ch.,  and  shortly  after  at  Notre- Dame,  an 
appointment  held  until  the  successful  pro- 
duction of  two  operas  (under  his  brother 
Joseph's  name)  induced  him  to  embrace  a 
secular  career.  In  1722  he  was  made  cond. 
of  the  Royal  Orch.  His  operas  were  performed 
after  Lully  until  eclipsed  by  the  genius  of 
Rameau.— Operas,  V Europe  galante  (1697); 
Le  Carnavalde  Venise  (1699);  HSsione  (1700); 
ArSthuse,  ou  la  vengeance  de  I' amour  (1701); 
Tancrede  (1702);  Les  Muses  (1703);  Iphigenie 
en  Tauride  (1704);  Telhnaque  (1704);  Alcine 
(1705);  Le  Triomphe  de  V amour  (1705).;  Hip- 
podamie  (1708);  Les  Fetes  venitiennes  (1710); 
Idomtnee  (1712);  Les  Amours  de  Mars  et 
Venus  (1712);  Telephe  (1713);  CamiUe  (1717); 
Les  Ages,  ballet-opera  (1718);  Achille  et 
DHdamie  (1735);  and  several  divertissements, 
etc.,  for  the  Versailles  court.  Also  3  books 
of  cantatas  (1708,  et  seq.),  and  5  books  of 
motets  (1706,  1710,  1713,  etc.).— Cf.  A. 
Pougin,  A.  C.  (Paris,  1861),  and  L.  de  la 
Laurencie,  Notes  sur  la  jeunesse  d'A.  C.  (in 
'Sbd.  Int.  M.-G.\  X,  2,  1909);  id.,  A.  C.t 
musicista  profano  (in  'L'Annee  Musicale,' 
1913).— See  Q.-Lex. 

Camps  y  Soler,  Oscar,  Spanish  pianist, 
comp.  and  writer;  b.  Alexandria,  Egypt,  Nov. 
21,  1837.    Pupil  of  Dobler  at  Florence,  and 

Slaved  in  public  as  early  as  1850;  st.  w. 
u  lercadante,  at  Naples;  made  concert-tours 
in  Europe,  and  settled  in  Madrid. — Works: 
Grand  cantata;  songs;  pf.-pcs. — Also  a  Teoria 
musical  ilustrada,  a  Metodo  de  Solfeo, 
Estudios  filosdficos  sobre  la  musica,  and  a 
Span,    transl.    of    Berlioz's   Instrumentation. 

Candeille  [kahn-da'e],  [Simons-Can- 
deille,]  Amelie-Julie,  daughter  of  Pierre- 
Joseph  C;  b.  Paris,  July  31,  1767;  d.  there 
Feb.  4,  1834;  dramatic  soprano,  actress,  and 
composer.  Debut  1 782  as  Iphigenie  in  Gluck's 
Iphigenie  en  Aulide;  from  1783-96,  actress  in 
the  Th.-Francais.  In  1798  she  married 
Simons,  a  Brussels  carriage-builder,  was 
separated  from  him  in  1802,  lived  in  Paris 
as  a  music-teacher  till  1821,  when  she  married 
the  painter  Pierie  [d.  1833].  She  wrote  the 
libretto  and  music  of  the  very  succ.  operetta 
La  belle  fermiere  (1792),  in  which  she  played 
the  leading  part,  singing  to  her  own  accomp. 
on  piano  and  harp;  and  produced  an  unsuc- 
cessful opera,  Ida,  Vorphiline  de  Berlin  (1807). 
Publ.  also  3  pf.-trios,  4  pf. -sonatas,  a  sonata 
f.  2  pfs.,  pf. -fantasias,  some  romances,  and 
the  songs  from  the  Belle  fermiere. 

Candeille,  Pierre-Joseph,  opera -comp.; 
b.  Estaires  (dept.  du  Nord),  Dec.  8,  1744; 
d.    Chantilly,    Apr.    24,    1827.      He    wrote 


139 


CANGE--CARAFA 


some  20  operas,  divertissements,  etc.,  the 
best  being  Castor  et  Pollux  (1791);  most  of 
them  were  never  produced. 

Cange  [kahn'zh],  Charlee-Dufresne, 
sieur  du,  b.  Amiens,  Dec.  18,  1610;  d.  Paris, 
Oct.  23,  1688.  A  learned  lawyer,  interested 
in  musical  research.  Publ.  Glossarium  ad 
scriptores  media  et  infinws  latinitatis  (1678, 
3  vols.;  1733-36,  in  6  vols.;  1840-50,  in  7 
vols.),  explaining  the  musical  instrs.  and 
terminology  of  the  middle  ages. 

Can'nablch,  Christian,  b.  Mannheim, 
1731;  d.  Frankfort,  Feb.  22,  1798.  An 
accomplished  violinist  (pupil  of  Jommelli) 
and  composer,  he  excelled  particularly  as 
conductor  of  the  Electoral  orch.  at  Mann- 
heim, a  post  to  which  he  was  app.  in  1775, 
having  been  leader  since  1765.  C.  rendered 
this  orch.  famous  by  the  (then  unique) 
perfection  to  which  he  carried  the  dynamic 
nuances,  more  especially  the  crescendo  and 
decrescendo.  His  compositions  (operas,  bal- 
lets, about  100  symphonies,  3  violin-concertos, 
much  chamber-music)#  were  popular.  Rie- 
mann  publ.  a  symph.  in  Bb  and  an  overture 
in  C  in  'Dkm.  der  Tonkunst  in  Bayern',  viii, 
2;  also  a  str.-quartet,  op.  5,  no.  2,  in  'Mann- 
heimer  Kammermusik.'  His  father,  Matthias 
C.,  was  a  flutist  in  the  Electoral  orch. — See 
Q.-Lex. 

Can'nabich,  Karl,  violinist  and  comp., 
son  of  Christian;  b.  Mannheim,  1769;  d. 
Munich,  May  1,  1806  (whither  the  orchestra 
had  followed  the  Elector's  court  in  1778); 
Kapellm.,  from  1800,  of  the  orch.— See  Q.- 
Lex. 

Capellen,  Georg,  b.  Salzuflen,  Lippe, 
Apr.  1,  1869.  St.  philosophy  and  law  at 
Tubingen,  Gdttingen  and  Berlin;  notable 
writer  on  theory  of  music.  Has  publ.  Die 
musikalische  Akustik  als  Grundlage  der 
Hartnonik  u.  Melodik  (Leipzig,  1903);  Die 
Freiheit  oder  Unfreiheit  der  Tone  u.  Intervalle 
als  Kriterium  der  Stimmfuhrung  (ib.,  1904; 
with  appendix  containing  analyses  of  Grief's 
works  in  proof  of  his  theory);  Die  Abhdngig- 
keitsverhdHnisse  in  der  Musik  (ib.,  1904; 
presenting  a  solution  of  the  problems  of 
figuration,  sequence  and  inversion);  Die 
Zukunft  der  Musiktheorie  (ib.,  1905;  against 
dualism);  Ein  neuer  exotischer  MustksM 
(Stuttgart,  1906);  Fortschrittliche  Harmonic- 
M.  Melodielehre  (Leipzig,  1908);  Die  Unmog- 
lichkeit  u.  Oberflussigkeit  der  dualtsttschen 
Molltheorie  Riemanns  (in  'Neue  Ztschr.  f. 
Musik,'  1901,  Nos.  44-50). 

Capel'li.  Pen-name  of  Johann  David 
von  Apell. 

Capoc'ci  t-p6ht'che],  Filippo,  b.  Rome, 
May  11,  1840;  d.  there  July  25,  1911.  Re- 
puted to  have  been  the  finest  Italian  organist 
of  his  time.     From  1875,  organist  of  San  Gio- 


vanni in  Laterano. — Wrote  an  oratorio,  5. 
Atanasio  (1863);  six  sonatas,  and  other  works 
f.  organ. 

Capoc'ci,  Gaetano,  b.  Rome,  Oct.  16, 
1811;  d.  there  Jan.  11,  1898.  Or^an-pupil 
of  Sante  Pascoh;  st.  later  under  Fioravanti 
and  Cianciarelli  (comp.),  and  in  1833  brought 
out  his  first  oratorio,  BaUista.  He  became 
org.  at  the  Ch.  of  S.  Maria  di  Vallicella,  and 
(1839)  at  S.  M.  Maggiore;  elected,  in  1855, 
maestro  direttore  of  the  'Cappella  Pia'  at  the 
Latcran,  succeeding  Meluzzi.  He  wrote  and 
publ.  a  vast  amount  of  sacred  music  (another 
oratorio,  Assalonne;  masses,  motets,  litanies, 
offertories,  psalms,  introits,  etc.),  and  formed 
numerous  distinguished  pupils. 

Capoul  [-pool'],  Joseph-Am&tee-Victor, 
brilliant  stage-tenor;  b.  Toulouse,  Feb.  27, 
1839;  pupil  (1859)  of  Revial  and  Mocker  at 
Paris  Cons.  Debut  at  Opera-Corn.,  Aug.  26, 
1861,  as  Daniel  in  Adam's  Le  Chalet;  eng. 
at  the  Opera-Corn.  1861-72,  and  has  since 
then  sung  in  London  (with  Nilsson),  New 
York,  and  other  cities;  1892,  prof,  of  operatic 
singing  in  National  Conservatory,  New  York; 
since  1897  stage-manager  at  the  Grand-Opera. 
Has  created  the  chief  tenor  parts  in  Les 
Absents  (Poise),  La  Colombe  (Gounod),  La 
Grand* tante  (Massenet),  Le  Premier  Jour 
de  bonheur  (Auber),  Vert- Vert  (Offenbach), 
Paul  et  Virginie  (Masse),  Les  Amants  de 
Verone  (d'lvry),  etc. 

Caraccioll  [-rah-tchoh'le],  Luigi,  comp.  and 
excellent  singing-teacher;  b.  Adria  (Bari),  Aujj. 
10,  1849;  d.  London,  July  22,  1887.  Pupd 
of  Cesi,  Conti  and  Mercadante  in  Naples 
(1863-9).  Called  to  Dublin  (1878)  as  Dir. 
of  the  School  of  Singing  in  the  R.  Irish 
Academy  of  Music;  removed,  in  1881,  to 
London.  Wrote  a  successful  opera,  Maso  il 
Montanaro  (Bari,  1874),  and  innumerable 
songs,  many  being  very  popular  (Danta  dette 
memorie,  Un  sogno  fulf  Rime  popolare,  etc.). 

Cara'fa  de  Colobra'no,  Mich  el  e  Enrico, 
b.  Naples,  Nov.  17,  1787;  d.  Paris,  July  26. 
1872.  A  son  of  Prince  Colobrano,  Duke  of 
Alvito,  he  began  mus.  study  early  and  while 
very  young  wrote  an  opera,  2  cantatas,  etc. 
Though  he  became  an  officer  in  the  army  of 
Naples,  and  fought  in  Napoleon's  Russian 
campaign,  he  devoted  his  leisure  to  music, 
and  after  Waterloo  adopted  it  as  a  profession. 
Up  to  1819  he  produced  9  operas  on  Italian 
stages;  from  1821-33,  about  20  in  Paris, 
most  successful  among  which  were  Le  Solitaire 
(1822),  MasanieUo  (1827,  his  best),  and 
La  Violette  (1828);  also  a  few  others  in  Italy 
and  Vienna.  Settled  in  Paris,  1827;  member 
of  the  Academy  (Lesucur's  successor),  1837; 
in  1840,  prof,  of  comp.  at  Cons.  Besides 
operas,  he  wrote  ballets,  cantatas,  and 
considerable  good  church-music. 


140 


CARDON— CARON 


Canton,  Louis,  eminent  harpist;  b.  Paris, 
1747;  d.  Russia,  1805,  whither  he  had  fled  at 
the  outbreak  of  the  Revolution.  His  Art  de 
jouer  de  la  harpe  (Paris,  1785)  is  one  of  the 
earliest  methods  for  that  instrument;  wrote 
2  symphonies  concertantes  for  harp  and 
string-orch.,  op.  18;  several  sonatas,  trios 
and  duos  for  harp;  numerous  arrangements. 

Careeti'ni,  Giovanni  (stage-name  Cusa- 
nino,  from  the  family  of  Cusani  in  Milan, 
his  protectors);  b.  Monte  Filatrano  (Ancona), 
circa  1705;  d.  there  1760.  Soprano  singer 
(musico)  at  Rome,  Prague,  Mantua,  London 
(1733-5,  under  Handel,  in  rivalry  with 
Farinelli),  then  at  Venice,  Berlin  and  Petro- 
grad  (1755-8). 

Carey,  Henry,  b.  1685  (?);  d.  London, 
Oct.  4, 1743.  A  reputed  natural  son  of  George 
Savile,  Marquis  of  Halifax.  His  teachers  were 
Linnert,  Roseingrave,  and  Geminiani,  but  he 
was  chiefly  self-taught.  He  lived  as  a  music- 
teacher,  and  writer  for  the  t heatres.  His  claim 
to  authorship  of  God  Save  the  King  is  dis- 
puted, despite  the  attempts  of  his  son, 
Gerome  Savile  Carey  (1745-1807),  to  sub- 
stantiate it  (v.  articles  by  Cummings,  'Mus. 
Times,'  1878).  His  song  Sally  in  Our  Alley 
still  enjoys  popularity.  His  musical  dramas 
(ballad-operas),  9  in  number,  had  consider- 
able success;  in  1737  he  publ.  100  ballads, 
The  Musical  Century. — See  Q.-Lex. 

CarU'simi,  Giacomo,  b.  Marino,  near 
Rome,  about  1604;  d.  Rome,  Jan.  12,  1674. 
From  1624-7  he  was  organist  at  the  Cath. 
of  Tivoli;  from  1628  to  his  death  m.  di  capp. 
in  the  Ch.  of  S.  Apollinare,  Rome.  A  proline 
and  original  church-composer,  he  broke  with 
the  Palestrina  tradition,  devoting  himself  to 

Cerfecting  the  monodic  style,  as  is  evidenced 
y  his  highly  developed  recitative  and.  more 
pleasing  and  varied  instrumental  accom- 
paniments. His  music  MSS.  were  dispersed 
at  the  sale  of  the  library  of  the  German 
College,  and  many  are  lost;  but  few  printed 
works  are  still  extant.  There  were  publ.  the  5 
oratorios  Jephte  (his  masterpiece),  Judicium 
Salomonis,  Jonas,  Jonah,  Balthazar;  2  colls, 
of  motets  a  2,  3  and  4  (Rome,  1664,  '67); 
masses  a  5  and  9  (Cologne,  1663,  '67);  Arte  da 
camera  (1667);  and  detached  pieces  in  several 
collections.  The  finest  coll.  of  his  works  is 
that  made  by  Dr.  Aldrich  at  Christ-Church 
College,  Oxford.  He  also  wrote  a  treatise, 
publ.  only  in  German:  Ars  cantandi,  etc. 
(Augsburg;  2d  ed.  1692; 3d,  1696).  F.Chrysan- 
der  publ.  4  oratorios  (Jephte ,  Judicium  Salo- 
monis, Balthazar,  Jonas)  in  vol.  ii  of  'Dkm. 
der  Tonkunst.' — Cf.  M.  Brenet,  Les  Oratorios 
de  C.  ('Riv.  Mus.  Ital.',  1897);  A.  Schering, 
Geschichte  des  Oratoriums  (Leipzig,  1911). 

Carl,  William  Crane,  concert-organist; 
b.  Bloomfield,  N.  J.,  March  2,  1865.    Pupil 


for  several  years  in  New  York  of  S.  P. 
Warren  (org.  and  theory)  and  Mme.  Mad. 
Schiller  (pf.);  also,  for  nearly  2  years,  of 
Alex.  Guilmant,  Paris  (or^.  and  theory). 
From  1882-90,  oreanist  of  First  Presbyterian 
Ch.,  Newark,  N.  J.;  since  1892,  organist  and 
choirmaster  of  the  Old  First  Presby.  Church, 
New  York;  1893-1900,  conductor  of  N.  Y. 
'Baton  Club'  (mixed  ch.  of  75  voices;  merged 
after  1898  in  the  'Gamut  Club');  founder  and 
dir.  of  'Guilmant  Organ  Sch.\  N.  Y.;  Mus. 
Doc.,  N.  Y.  Univ.,  1911;  also  'Omcier  de 
l'instruction  publique'  since  1909.  As  a  con- 
cert-organist with  an  enormous  repertory,  C. 
has  played  in  most  large  cities  between  New 
York  and  San  Francisco,  both  with  the  large 
orchestras  and  in  recital,  and  has  inaugurated 
many  organs,  etc.  Founder,  and  member  of 
Council,  of  Amer.  Guild  of  Organists.  Has 
publ.  Masterpieces  for  the  Organ;  30.  Preludes 
for  the  Organ;  Novelties  for  the  Organ  (2 
books) ;  Master  Studies  for  the  Organ. 

Carmichael,  Mary  Grant,  contemporary 
British  pianist  and  composer;  b.  Birkenhead. 
Pupil  of  O.  Beringer,  W.  Bache,  and  F. 
Hartvigson  (pf.),  and  £.  Prout  (comp.).  She 
is  an  accomplished  accompanist. — Works: 
Operetta,  The  Snow  Queen;  a  Suite  for  pf .  4 
hands,  and  minor  pf. -pieces;  many  songs, 
including  The  Stream,  a  song-cycle. — Transl. 
H.  Ehrhch's  Celebrated  Pianists  of  the  Past 
and  Present  (London,  1894). 

Carnicer  [-ne-thar'],  Ram6n,  b.  Tarrega, 
Catalonia,  Oct.  24,  1789;  d.  Madrid,  March 
17,  1855.  From  1818-20,  conductor  of  the 
Italian  Opera,  Barcelona;  182&-30,  of  the 
Royal  Opera,  Madrid;  1830-54,  professor  of 
comp.  at  Madrid  Cons.  One  of  the  creators 
of  Spanish  national  opera  (the  zarzuela),  he 
composed  9  operas,  wrote  much  church- 
music,  many  symphonies,  Spanish  songs,  etc.; 
also  Duke  Patriat  the  national  hymn  of  Chile. 

Ca'ro  fkah-],  Paul,  b.  Breslau,  Oct.  25, 
1859.  Pupil  of  J.  Schaffer  and  B.  Scholz; 
1880-85,  at  Vienna  Cons.,  of  Door  and 
Bruckner;  lives  in  Breslau. — Works:  Op.  2, 
sonata  in  F;  op.  6,  string-quartet  in  Bb  m.; 
op.  8,  pf.-trio  in  E;  op.  19,  string-quartet  in 
D  m.;  op.  20,  ditto,  in  F#  m.;  numerous  pf.* 
pieces  and  songs.  In  MS.  he  has  5  symphs.; 
a  sinfonietta;  several  symph.  poems;  2  sere- 
nades for  string-orch.;  2  sacred  cantatas;  a 
Requiem;  a  pf. -quintet;  about  30  string- 
quartets;  an  overture  to  Faust.  An  opera. 
Hero  und  Leander,  was  produced  at  Breslau 
(1912);  another  opera,  Die  Hochzeit  von  UU 
fosti,  has  not  yet  been  produced. 

Caron  [kah-r&hn'],  Philippe,  famous 
(Netherland?)  contrapuntist  of  the  15th 
century,  a  pupil  of  Binchois  and  Dufay; 
his  only  extant  works  are  a  few  masses  in 


141 


CARON— CARRODUS 


the   Papal   Chapel,   and  a   MS.   of   3-part 
chansons  in  the  Paris  Library. 

Garon,  Mme.  Rose  (nSe  Meuniez), 
dramatic  soprano;  b.  Monerville,  France, 
Nov.  17,  1857;  entered  the  Paris  Cons, 
(already  married)  in  1880,  leaving  in  1882 
to  take  lessons  with  Marie  Sasse  in  Brussels, 
where  her  debut  was  made  as  Alice  in  Robert 
(1884).  Here  she  created  Brunehilde  in 
Sigurd  (1884),  and  Eva  in  Les  Matlres- 
Chanteurs  (1885);  then  sang  2  years  at  the 
Opera,  Paris,  and  a^ain  in  Brussels  1888-90, 
creating  Laurence  (in  Jocelyn),  Richilde,  and 
Salammbd  (1890);  in  1890  she  returned  to 
the  Paris  Grand  Opera,  where  she  created 
Sieglinde  (1893)  and  Desdemona  (1894)  in 
the  first  performances  of  Walkiire  and  Otetto 
in  France;  in  1898  she  created  Fidelio  at  the 
Op.-Comique  (first  perf.  in  France!).  Other 
principal  Ales  are  Rachel,  Norma,  Margue- 
rite, Valentine  (Huguenots),  Elsa,  Elisabeth. 
Since  1900  she  has  appeared  almost  exclusively 
on  the  concert-stage;  in  1902  app.  prof,  of 
singing  at  the  Cons. — Cf.  H.  de  Curzon, 
Croquis  d' artistes  (Paris,  1898). 

Carpa'nl,  Giuseppe  Antonio,  writer  and 
poet;  b.  Villalbese  (Como),  Jan.  28,  1752;  d. 
Vienna,  Jan.  22,  1825,  as  court  poet;  for  a 
short  time  censor  and  theatre-dir.  at  Venice, 
but  lived  the  greater  part  of  his  life  in  Vienna. 
Chief  works:  Le  Haydine,  owero  leUere 
suUa  vita  e  le  opere  del  eelebre  maestro  Giuseppe 
Haydn  (Milan,  1812);  and  Le  Rossiniane, 
ossia  leUere  musico-teatrali  (Padua,  1824). 
He  was  the  author  of  several  opera-libretti; 
transl.  others  from  the  French  and  German. 

Carpenter,  John  Alden,  composer;  b. 
Park  Ridge,  111.,  Feb.  28,  1876.  Studied  at 
Univ.  Sch.,  Chicago;  at  Harvard  Univ.  he 
pursued  besides  the  regular  acad.  course 
(A.  B.  1897)  the  full  course  in  music  under 
Prof.  John  K.  Paine;  pupil  of  Edward  Elgar 
(Roma,  1906)  and  of  Bernhard  Ziehn 
(Chicago,  1908-12).  In  his  compositions  he 
follows  the  modern  impressionistic  tendencies. 
Has  written  Adventures  in  a  Perambulator, 
orch. suite  (1914);  Gitanjali, song-cycle  (1913); 
concertino  f.  pf.  and  orch.  (1915);  sonata  f. 
vln.  and  pf.  (1912);  numerous  songs. 

Carpentras  [-pahn-trah'],  (II  Carpen- 
trasso  in  Italian;  his  real  name  was  Eliazar 
Genet);  b.  Carpentras  (Vaucluse),  c.  1475; 
d.  Avignon  (?),  c.  1532.  In  1515,  leading 
singer  in,  ana  soon  after  m.  di  capp.  of,  the 
Pontifical  chapel;  in  1521  he  was  sent  to 
Avignon  on  negotiations  connected  with  the 
Holy  See.  4  volumes  of  his  works  (Masses, 
1532;  Lamentations,  1532;  Hymns,  1533; 
Magnificats)  were  printed  at  Avignon,  by 
Jean  de  Chaunay,  in  round  notes  and  without 
ligatures.    A  few  motets  are  printed  in  Pe- 


trucci's  'Motetti  della  Corona'  (vol.  i,  1514, 
and  vol.  iii,  1519). 

Carr,  Frank  Osmond,  English  composer; 
b.  Yorkshire,  Apr.  23,  1858.  Mus.  Bac, 
Oxon.,  1882;  Mus.  Doc.,  1891.— Works: 
several  farces,  burlesques,  and  comic  operas: 
Joan  of  Arc  (1891),  Blue-eyed  Susan  (London, 
1892),  In  Town  ('92).  Morocco  Bound  ('93), 
Go  Bang  ('94),  His  Excellency  ('94,  book  by 
Gilbert),  Biarritz  ('96),  Lord  Tom  Noddy 
('96),  The  Clergyman's  Daughter  (Birming- 
ham, '96;  London,  Gaiety  Th.,  later,  as  My 
Girl),  The  Rose  of  the  Riviera  ('99),  Roger  de 
Coverley  (1907),  etc. 

Carre1,  Albert,  nephew  of  the  librettist 
Michel  Carre;  b.  June  22,  1852,  at  Strassburg, 
where  he  st.  in  the  Lycee.  At  first  an  actor 
in  the  Vaudeville  Th.,  Paris,  he  assumed  the 
direction  of  the  theatre  at  Nancy  in  1884; 
in  1885,  that  of  the  Vaudeville  (with  Des- 
ksides till  1890);  and  1894-98,  of  the  V.  and 
the  Gymnase  together  (with  Porel).  Also, 
1885-90,  director  of  the  Cercle  at  Aix-les- 
Bains.  From  1898-1912  he  was  director  of 
the  Opera-Comiq^ue,  succeeding  Leon  Car- 
valho.  During  his  incumbency  the  perform- 
ances rose  to  high  a  degree  of  excellence, 
and  as  C.  produced  several  works  which, 
according  to  French  standards,  belong  to 
grand  opera,  the  Op.-Com.  for  a  time  became 
a  serious  rival  of  the  Grand  Opera.  Carre 
has  written  a  number  of  light  stage-pieces, 
set  to  music  by  various  composers. 

Carre'fio,  Teresa,  b.  Caracas,  Venezuela, 

Dec.  22,  1853.    A  pupil  of  L.  M.  Gottschalk, 

afterwards  of  Georges  Mathias  in  Paris,  she 

has  become  one  of   the   foremost   pianists. 

She  played  in  public  1865-6;  her  reputation 

was  well  established  in  1875,  when  she  made 

a  tour  of  the  United  States.     For  several 

years    she    resided    in    London,    and    then 

travelled     1889-90     throughout     Germany, 

everywhere    winning   applause    and    greatly 

enhancing   an   already   brilliant   reputation. 

In    1893    she   received    the    title   of    Court 

Pianist  to  the   King  of  Saxony.     She  has 

played  in  all  the  chiefEuropean  and  American 

towns.     In   1872  she  married  the  violinist 

£mile  Sauret;  was  divorced  after  a  few  years 

and  married  the  baritone  Giov.  Tagliapietra; 

again  div.,  and  married  to  Eugen  d' Albert 

(1892-5);    after    being   div.    from    him,  she 

married  a  younger  brother  of  Tagliapietra. 

A  daughter,  Teresita,  has    appeared   as    a 

pianist.    Mme.  C.'s  playing  is  characterized 

by    brilliancy,    dash    and    masculine    vigor; 

she   has   publ.   a   str. -quartet   in   B,   and    a 

number  of  brilliant  concert-pes.  for  pf. 

Carro'dus,  John  Tiplady,  eminent  vio- 
linist; b.  Keiehley  (Yorks.),  Jan.  20,  1836;  d. 
Hampstead,  London,  July  13  (not  12),  1895. 
A  pupil  of  Molique  at  London  and  Stuttgart, 


142 


CARSE— CARUSO 


he  returned  to  England  in  1853;  had  played 
since  then  in  the  best  English  orchestras, 
succeeding  Sainton  (1869)  as  leader  of  the 
Covent  Garden  Orch.;  later  he  was  also  leader 
at  the  Philharmonic,  and  at  the  chief  provin- 
cial festivals;  made  his  debut  as  soloist  in 
1863.  He  was  an  excellent  teacher,  and  publ. 
several  pieces  for  solo  violin. — Cf .  A.  Carrodus, 
J.  T.  C,  Violinist:  a  Life-Story  (London,  1897). 

Cane,  A.  von  Ahn,  b.  Newcastle-on- 
Tyne,  May  10,  1878.  Pupil  of  F.  Corder  at 
R.  A.  M.,  London;*  teacher  of  comp.  there 
since  1902.  Wrote  2  symphs.  (C  m.,  G  m.); 
prelude  to  Manfred;  a  concert -overture  (D): 
2  symph.  poems,  The  Death  of  Tintagiles  and 
In  a  Balcony;  a  cantata,  The  Lay  of  the  Brown 
Rosary;  chamber-music;  pf. -pieces;  songs. 

Garter,   Ernest,   organist,   composer;   b. 

Orange,  N.  J.,  Sept.  3f  1866.    Studied  pf.  and 

harm,  with  Mrs.  Mary  F.  Bradshaw  (1874- 

81);  pf.  with  William  Mason  (1883-4);  comp. 

and  cond.  with  Prof.  Wilhelm  Freudenberg, 

Berlin   (1894-8);  comp.  with  O.   B.   Boise, 

Berlin   (1895-7);  organ  with  Arthur  Egidi, 

Berlin    (1897-3),    and   Homer    N.    Bartlett 

(1898-9).      Mus.   dir.  of  Thatcher  School, 

Nordhoff,  Cal.  (1892-4);    org.  and    choirm. 

American  Ch.,  Berlin  (1897-8);  lecturer  on 

music,  and  organist  and  choirm.,  at  Princeton 

Univ.  (1899-1901);   now  in   N.  Y.  City  as 

arranger,  cond.  and  comp.    Received  A.  B., 

Princeton   (1888);    A.  M.,   Columbia    Univ. 

(1899);    admitted    to    the    Bar    in   1891. — 

Works:  The  Blonde  Donna,  or  The  Fiesta  of 

Santa    Barbara ,    opera    comique;     a  string- 

Jiuartet  in  G;  Symphonic  Suite  in  D  m. 
or  orch.;  many  sorigs;  anthems  (The  Lord's 
Prayer,  Out  of  the  Depths,  etc.) ;  male  quartets. 
Garter,  Thomas,  b.  Ireland,  1734;  d. 
London,  Oct.  12,  1804.  Organist  of  St.  Wer- 
burgh's  Ch.,  Dublin,  1751-69;  studied  in  Italy 
(1770-1);  from  1771-2,  cond.  of  theatre  in 
Bengal;  settled  in  London,  1773,  as  composer 
to  theatres.  He  composed  incidental  music 
to  several  plays;  also  a  concerto  for  bassoon 
and  pff;  6  pf. -sonatas;  songs;  Lessons  for  the 
Guitar. — See  Q.-Lex. 

Cartier  [kahr-t'ya'],  Jean-Baptiste,  b. 
Avignon,  May  28,  1765;  d.  Paris,  1841.  Pupil 
of  Viotti;  violinist  at  Grand  Opera  (1791— 
1821);  1804,  member  of  the  Imperial  Orch.; 
1815,  of  the  Royal  Orch. ;  pensioned  1830.— 
Works:  2  operas;  sonatas,  variations,  duets, 
and  etudes  for  vln.;  and  Vart  du  violon 
(Paris,  1798,  1801),  containing  selections  from 
eminent  French,  Italian  and  German  masters 
of  the  17th  and  18th  centuries. 

Garulli,  Ferdinando,  b.  Naples,  Feb.  10, 
1770;  d.  Paris,  February,  1841.  Brilliant  self- 
taught  guitar-player,  whose  original  method  is 
the  basis  of  modern  guitar-playing.  He  lived 
in  Paris,  from  1808,  as  an  eminently  success- 


ful and  popular  concert-giver  and  teacher. 
His  compositions  are  nearly  400  in  number 
(concertos,  quartets,  trios,  and  duos;  fanta- 
sias, variations,  and  solos  of  all  descriptions). 
He  wrote  a  Method,  and  a  treatise,  L'har- 
monie  appliquee  d  la  guitare  (Paris,  1825). 

Garulli,  Gustavo,  son  of  preceding;  b. 
Leghorn,  June  20,  1800;  d.  Boulogne,  April, 
1877.  Vocal  composer,  and  excellent  singing- 
teacher;  wrote  a  Methode  de  Chant,  many 
vocal  exercises,  songs  with  pf.,  trios  (his  best 
works),  etc.;  also  an  opera,  /  tre  tnariti 
(Milan,  1825). 

Caru'so,  Enrico,  the  greatest  dramatic 
tenor  of  the  present  time,  and  probably  of 
this  generation,  was  born  at  Naples,  Feb.  25, 
1873.  Reared  amid  humble  surroundings  as 
a  member  of  a  large  family,  he  began  serious 
vocal  training  in  1891  under  Guglielmo  Ver- 
gine  (voice-placement),  studying  for  3  years 
and  finishing  under  Vincenzo  Lombardi.  His 
debut  was  made  in  April,  1895,  at  Caserta 
(near  Naples),  in  the  rdle  of  Faust;  but  he 
was  hardly  known  till  his  appearance  in  1896 
at  the  Fondo  Th.,  Naples,  in  La  Traviata, 
successfully  seconded  by  La  Favorita  and  Gio- 
conda.  His  position  became  assured  with  his 
engagement  at  the  Teatro  Lirico  in  Milan, 
where  he  was  chosen  to  create  the  r61e  of 
Loris  in  Giordano's  Fedora  (1898);  he  also 
sang  at  the  Carlo  Felice  in  Genoa,  for  two 
winter  seasons  at  Petrograd,  and  during  five 
summer  seasons  (1899-1903)  at  Buenos  Aires. 
For  the  Carnival  of  1901  he  appeared  at  La 
Scala,  Milan,  in  La  Bohlme,  Mefistofele,  and 
VEiisir  oVamore,  and  created  the  Florindo  in 
Mascagni's  Le  Maschere.  In  the  autumn  of 
1901  he  sang  at  Treviso  and  Bologna  in  La 
Tosca;  for  the  Carnival  of  1902  again  at  Milan 
(T.  Lirico),  creating  the  leading  tenor  roles 
in  Cilea's  Adriana  Lecouvreur  and  (at  La 
Scala)  Franchetti's  Germania.  In  1902  he 
likewise  sang  with  Melba  at  Monte  Carlo 
(where  he  was  engaged  for  four  seasons),  and 
made  his  London  debut  on  May  14  at  Covent 
Garden  as  the  Duke  in  Rigoletto  with  unmis- 
takable success  so  far  as  the  discriminating 
public  was  concerned,  though  the  critics 
reserved  their  enthusiasm.  During  the  winter 
season  of  1903-4  he  sang  at  Rome  and  Lis- 
bon; later  (Nov.  23,  1903)  making  his  Ameri- 
can debut  at  the  Metr.  Opera  House,  New 
York,  in  Rigoletto;  here  he  has  appeared  regu- 
larly ever  since.  At  Monte  Carlo  (March, 
1904)  he  took  the  part  of  Pinkerton  in  the 
creation  of  Puccini's  Madama  Butterfly. 
From  his  summer  season  of  1903  at  Covent 
Garden  dates  his  immense  popularity  in 
London,  where  he  has  not  appeared  in  opera 
since  1907,  the  management  being  unwilling 
to  accede  to  his  terms;  he  has,  however,  sung 
at  private  entertainments  and   in  concert, 


143 


CARUSO— CASELLA 


where  his  wonderful  gifts  are  displayed  to 
great  advantage.  In  1907  he  included  Leip- 
zig, Hamburg  and  Berlin  in  a  German  tournee 
which  became  an  ovation;  in  the  autumn  of 
1907  he  was  enthusiastically  greeted  at  the 
Court  Opera  in  Vienna.  When  he  sang  there 
again  in  1913  he  received  15,000  crowns 
(93,000)  for  each  performance.  Since  then  he 
has  received  similar  fees  everywhere,  and 
when  he  appears  now  in  Germany  or  Austria 
the  seats  are  practically  sold  at  auction.  It 
is  said  that  the  royalties  paid  to  him  for  his 
records  are  some  $75,000  a  year.  It  would  be 
idle,  even  if  it  were  possible,  to  attempt  a 
complete  list  of  the  theatres  in  which  he  has 
sung.  His  tone  has  the  ring  of  the  true  dra- 
matic tenor,  combined  with  a  sweetness  and 
power  unrivalled  to-day  on  the  stage.  In 
perfection  of  breath-control  and  equalization 
throughout  its  compass  his  voice  is  an 
admirable  exemplar  of  the  so-called  Old 
Italian  Method  of  bel  canto;  in  ranee  of 
expression,  from  the  rude  passion  of  the 
Italian  veristic  opera  to  the  tranquil  beauty 
of  lyric  episodes,  he  stands  alone  on  the 
stage.  He  himself  says  that  he  has  no 
'favorite  roles' — that  all  should  have  equal 
importance  for  the  conscientious  singer.  His 
repertory  of  over  50  parts  sung  on  the 
stage  includes  the  chief  rdles  of  modern 
French  and  Italian  opera. — Cf.  J.  H.Wagen- 
mann,  E.  C.  und  das  Problem  der  Stimm- 
bildung  (Altenburg,  1911). 

Caruso,  Luifti,  b.  Naples,  Sept.  25,  1754; 
d.  Perugia,  1822.  M.  di  capp.  at  Perugia 
cathedral,  and  a  remarkably  prolific  dramatic 
comp.  (69  operas);  he  also  wrote  5  oratorios 
and  much  other  church-music. — See  Q.-Lex. 

Carvalho  [-vahl'yu],  (really  Carvaille), 
Leon,  distinguished  opera-manager;  b.  1825 
in  a  French  colony;  d.  Paris,  Dec.  29,  1897. 
Himself  a  good  singer,  he  met  Mile.  Miolan, 
the  celebrated  soprano,  at  the  Opera-Co- 
mique,  and  married  her  in  1853.  From  1872-4, 
manager  of  the  Theatre  du  Vaudeville;  for  1 
year,  stage- manager  at  the  Grand  Opera; 
from  1875,  Director  of  the  Opera-Comique, 
succeeding  du  Loclc.  After  the  terrible  fire 
of  1887,  in  which  131  persons  perished,  he 
was  arrested  and  sentenced  to  6  months'  im- 
prisonment, and  a  fine  of  200  fr.;  but  was 
acquitted  on  appeal,  and  finally  reinstated  in 
1891.  He  not  only  produced  acknowledged 
masterworks,  but  encouraged  many  young 
artists  by  bringing  out  new  operas. 

Carvalho- Miolan  [kahr-vahl'yu-ni'yoh- 
lahn'],  Caroline-Marie-Felix,  b.  Marseilles, 
Dec.  31,  1837;  d.  near  Dieppe,  July  10,  1895. 
Famous  dramatic  soprano.  Entered  Paris 
Cons,  at  12;  st.  under  Duprez;  took  first 
prize  after  4  years.  Trial  debut  1849,  in 
Lucia  (Act  I),  at  the  Opera-Comique,  where 


she  was  engaged  1849-56.  In  1853  mar- 
ried Leon  C. — Favorite  par  excellence  in 
Op.-Comique,  Th.-Lyr.,  and  (1868)  Grand 
Opera.  Leading  rdles:  Juliette,  Marguerite, 
Mireille,  Dinoran,  Ophelie, Valentine,  Pamina, 
Cherubino,  Zerlina. — Cf.  H.  de  Curzon, 
Croquis  df  artistes  (Paris,  1898). 

Cary,  Annie  Louise,  distinguished  con- 
tralto singer  in  opera  and  concert;  b.  Wayne 
(Kennebec  County,  Me.),  Oct.  22,  1842. 
Studied  in  Boston  and  Milan;  debut  at 
Copenhagen;  studied  under  Mme.  Viardot- 
Garcia  at  Baden-Baden;  engaged  at  Ham- 
burg (1868),  later  at  Stockholm.  Has  sung 
since  then  in  theatres  at  Brussels,  London, 
New  York  (1870),  Petrograd(1875).  Married 
C.  M.  Raymond  in  1882  at  Cincinnati,  and 
retired  at  the  height  of  her  powers.  She 
appeared  in  concert  or  oratorio  in  all  leading 
cities  of  America. 

Casals  [kah-sahls'],  Pablo,  famous  violon- 
cellist; b.  Vendrell,  Catalonia,  Spain,  Dec. 
30,  1876;  until  11,  pupil  of  his  father;  from 
12-15,  at  Barcelona,  of  Jose  Garcia  ('cello) 
and  J.  Rodereda  (comp.).  From  1894-6  he 
studied  in  Madrid  under  the  queen's  patron- 
age with  Tomas  Breton  (comp.)  and  assisted 
in  the  chamber- music  class  of  Jesus  de  Mo- 
nasteries whom  he  succeeded  in  1895.  His 
first  public  appearance  was  in  1889;  his  pro- 
fessional debut  at  the  Concerts  Lamoureux, 
Paris,  1898.  Prof,  of  'cello  at  Barcelona 
Cons.,  1897;  solo'cellist  at  Paris  Grand 
Opera,  1895-8.  On  concert-tours,  in  1895-9, 
throughout  western  Europe;  to  the  United 
States,  1901-2  and  1903-4;  again,  with  almost 
sensational  success,  in  1914-16  (as  soloist  and 
in  ensemble);  to  South  America,  1903,  1904. 
It  is  safe  to  say  that  at  present  he  has  no 
superior,  and  but  few  equals.  In  1914  he 
"married  the  American  singer,  Susan  Metcalf. 
— Comps. :  La  Vision  de  Fray  Martin,  symph. 
poem  lor  orch.,  org.,  soli  and  ch.;  another 
symph.  poem  for  orch.  (1902);  a  Miserere; 
orchl.  pieces;  pieces  for  pf.  and  'cello,  and 
for  pf.  and  vln.;  etc* 

Casamora'ta,  Luigi  Fernando,  b.  Wurz- 
burg,  May  15,  1807;  d.  Florence,  Sept.  24, 
1881.  Student  of  law  and  music  at  Florence; 
co-editor  of  the  Florentine  'Gazz.  Mus.'  from 
the  start  (1842).  Failing  as  a  comp.  of  ballet 
and  opera,  he  devoted  himself  to  vocal  ch.- 
music  and  instrumental  composition.  He 
wrote  Origine,  storia  e  ordinamento  del  R. 
Istituto  musicale  fiorentino,  of  which  Inst,  he 
was  a  promoter  and  co-founder;  also  many 
critical  and  historical  essays.  His  comps. 
embrace  numerous  vocal  and  instrl.  worts; 
he  published  (1876)  a  Manuale  d'armonia. 

Gasella,  Alfredo,  b.  Turin,  July  25,  1883. 
Began  to  play  the  pf.  at  the  age  of  four,  and 
received    nis    entire    instruction    from    his 


144 


CASELLA— CASTRUCCI 


mother  until  1896,  when  he  entered  the  Paris 
Cons.;  studied  there  pf.  with  L.  .Diemer  (first 
prize,  1899)  and  comp.  with  G.  Faure.    Has 
made  successful  concert-tours  (as  soloist  and 
in  chamber-music)  of  France,  Spain,  Portu- 
gal, Italy,  Germany,  the  Netherlands,  Russia, 
etc.;  has  also  appeared  as  visiting  cond.  with 
several  of   the  larger   European   orchestras 
(Colonne,  Lamoureux,  Concert-Gebouw,  etc.) ; 
in  1912  cond.  of  the  'Concerts  Populaires'  at 
the  Trocadero  in  Paris;  prof,  of  advanced  pf.- 
classes  at  the  Paris  Cons,  from  1912-15;  in 
1915  he  succeeded  Sgambati  as  prof,  of  pf.  at 
the  Liceo  musicale  di  S.  Cecilia  in  Rome. 
Gen.  sec.  of  'Societe  musicale  independent  a'; 
chevalier  of  the  Crown  of  Roumania. — Has 
written  for  orch.  Italia,  a  rhapsody;  Prologue 
pour  une  trag&die;  2  symphs. ;  Notte  di  maggio, 
with  ch.;  considerable  chamber-music  (string- 
quartet,  sonata  for  vcl.  and  pf.,  etc.);  I1  Adieu 
a  la  vie,  a  cycle  of  4  Hindu  lyrics  from  the 
Gitanjali  of  S.  Tagore,  and  other  songs;  pieces 
for  pf.  i?  Pieces,  sonatina,  Pupazetti,  etc.). 
Has  orchestrated   Balakirev's   Isfamey. — Le 
Convent  sur  Veau,  a  choreographic  comedy, 
is  MS. 

Casella,  Pietro,  the  oldest  composer  of 
madrigals,  a  personal  friend  of  Dante,  died 
before  1300.— Cf.  C.  Perinello,  C.  Appunti 
suUa  vila%  etc,  (Trieste,  1904). 

Casella,  Pietro,  b.  Pieve  (Umbria),  1769; 
d.  Naples,  Dec.  12,  1843.  Wrote  numerous 
operas  for  Naples  and  Rome;  was  maestro  at 
several  Naples  churches  and  (1817-43)  prof, 
at  the  R.  Cons.,  Naples.  His  numerous 
masses,  vespers,  psalms,  motets,  etc.,  are  said 
to  lack  originality^ 

Casio Va,  Marie,  concert  violinist;  b. 
Ozark  Mts.,  Mo.,  March  29,  1895.  Studied 
with  Geo.  Heerich,  St.  Louis;  then  with  Otto- 
kar  Sevcik  (Prague),  and  Carl  Flesch  and 
Arrigo  Serato  (Berlin);  debut  with  Bliithner 
Orch.,  Berlin  (Oct.  1,  1913);  American  debut 
with  N.  Y.  Symph.  Orch.  (Nov.  14,  1913); 
toured  with  Gadski;  has  appeared  since  with 
several  of  the  larger  symphony  orchs.  and  in 
many  recitals  in  the  U.  S.  and  Canada. 

Cassiodo'rus,  Magnus  Aurelius,  b.  circa 
470  at  Syllaceum  (Lucania).  Of  his  work, 
De  artibus  ac  disciplines  liberalium  litte- 
rarum,  the  section  treating  of  music,  ' Institu- 
tiones  musicae,  is  printed  in  Gerbert's  'Scrip- 
tores,'  vol.  i. 

Gastel',  Louis-Bertrand,  Jesuit;  b.  Mont- 
pellier,  Nov.  11,  1688;  d.  Paris,  Jan.  11,  1757. 
Struck  by  Newton's  observation  on  the  corre- 
spondence, in  proportionate  breadth,  of  the  7 
prismatic  rays  with  the  string-lengths  required 
for  the  scale  re,  mi,  fa,  sol,  la,  si,  do,  he  at- 
tempted the  construction  of  a  'Clavecin  ocu- 
laire,'  to  produce  color-harmonies  for  the  eye 


as  the  ordinary  harpsichord  produces  tone- 
harmonies  for  the  ear.  These  expensive  ex- 
periments led  to  no  practical  result.  His 
Clavecin*  is  explained  in  an  essay,  Nouvelles 
experiences  d' oblique  et  d'acoustique  (1735; 
Engl,  transl.,  London,  1757;  Germ,  transl.. 
Hamburg,  1739).  His  other  treatises  are  of 
no  special  interest. 

Ca6telli,  I&naz  Franz,  b.  Vienna,  March 
6, 1781 ;  d.  there  Feb.  5,  1862.  He  was  'Court 
Theatre-Poet'  at  the  Kar ntnerthort heater; 
founder,  and  (1829-40)  editor,  of  the  'Allgcm. 
musikal.  Anzeiger.'  He  wrote  the  libretto  of 
Weigl's  Schweiterfamilie,  and  other  popular 
opera-books,  and  translated  many  foreign 
operas  for  the  German  stage.  His  Memoirs 
were  publ.  in  1861  in  4  vols. 

Castelmary  [-mah'rel,  (stage- name  of 
[comte]  Armand  de  Castan),  dramatic 
baritone;  b.  Toulouse,  Aug.  16,  1834;  d.  New 
York,  Feb.  8,  1897,  on  the  stage  of  the  Met- 
ropolitan Opera  House,  just  after  the  1st  act 
of  Martha.  Debut  at  Gr.  Opera,  Paris,  in 
1864;  he  remained  there  till  1870;  then  went 
over  to  Italian  opera,  in  which  he  had  much 
success,  particularly  at  Drury  Lane,  London, 
1873,  as  Mephistopheles  in  Faust,  Covent 
Garden,  London,  and  New  York.  His  reper- 
tory of  bass  and  baritone  rdles  was  immense. 

Castil-Blaze.    See  Blaze,  F.-H.-J. 

Castillon  [kah-ste-yfthn'],  Alexis  de  (vi- 
comte  de  Saint-Victor),  b.  Chartres,  Dec. 
13,  1838;  d.  Paris,  March  5,  1873.  St.  with 
V.  Masse,  but,  becoming  dissatisfied,  went  to 
Cesar  Franck,  under  whose  guidance  he  wrote 
a  pf  .-quintet.  This  he  designated  as  op.  1 ,  and 
'  destroyed  all  previous  compositions.  He  is 
one  of  the  first  French  composers  of  the  last 
century  to  cultivate  absolute  music;  one  of 
the  original  founders  of  the  'Societe  nationale 
de  musique'  (1871).— Works:  Psalm  84  for 
soli,  ch.  and  orch.;  overt.,  Torquato  Tasso;  2 
suites  for  orch.;  Esquisses  symphoniques;  a 
concerto  for  pf.  and  orch.;  a  str.-quartet;  a 
pf. -quartet;  2  pf. -trios;  a  sonata  for  pf .  and  vl. ; 
pf.-pes.;  songs. 

Castrucci  [-str66'tche],  Pietro,  violinist;  b. 
Rome,   1689;  d.   Dublin,  Feb.  29,  1752.     A 

{>upil  of  Corelli,  he  came  to  London  (1715)  as 
eader  of  Handel's  opera-orch.  He  was  a  fine 
player  on  the  'violetta  marina,'  a  stringed 
instrument  invented  by  himself,  and  resem- 
bling the  'viol  d'amore*  in  tone.  In  Orlando, 
Handel  wrote  an  air  accomp.  on  2  'violette 
marine'  'per  gli^Signori  Castrucci' — Pietro, 
and  Prospero,  his  brother. — Publ.  vln.-con- 
certos,  and  2  books  of  vln. -sonatas. — Pro- 
spero C. ,  who  died  in  London,  1 760,  and  was  a 
violinist  in  the  Italian  Opera-orch.,  publ.  6 
soli  for  vln.  and  bass. 


145 


CATALANI— CAVAILLfi-COL 


Catalan!  [-lah'ng],  Alfredo,  gifted  dram, 
comp.;  b.  Lucca,  July  19, 1854;  d.  Milan,  Aug. 
7, 1893.  Taught  by  his  father,  a  fine  musician, 
and  by  F.  Magi;  wrote  (1868)  a  Mass  for  4- 
parts  and  orch.,  by  which  he  gained  admission 
without  examination  to  the  Paris  Cons.  Re- 
turned to  Italy  1873;  studied  in  Milan  Cons. 
2  years;  then  devoted  himself  to  dramatic 
composition;  he  was  the  successor  of  Pon- 
chielli  as  prof,  of  comp.  in  Milan  Cons.  (1886). 
— Works:  Operas:  La  Fake  (1  act,  Milan. 
1875);  L'Elda  (Turin,  *80);  Dejanice  (Milan, 
'83);  Ero  e  Leandro  (Milan,  1885);  Bdmea 
(Milan,  '86) ;  Loreley  [a  new  version  of  L'Elda] 
(Turin,  '90);  La  Wally  (La  Scala,  Milan,  '92; 
N.  Y.  1909);  of  his  operas  Dejanice,  Loreley, 
and  La  Wally,  met  with  brilliant  success. — 
Also  various  orch. -pieces  (e.  g.,  Silenzio  e  con- 
templasione) ;  symph.  poem  Ero  e  Leandro; 
chamber-music  (also  vocal),  and  pf.-pes. 

Catala'ni,  Angelica,  b.  Sinigaglia,  May  10, 
1780;  d.  Paris,  June  12.  1849.  Renowned  so- 
prano stage-singer  of  fine,  commanding  pres- 
ence; endowed  with  a  voice  of  wide  range  (to 
|*)  and  wonderful  flexibility,  she  excelled  in 
bravura  singing.  Taught  at  the  convent  of 
S.  Lucia  di  Gubbio  (Rome),  she  made  her 
debut  in  1795  at  the  Fenice  Th.,  Venice, 
passing  to  La  Pergola,  Florence  (1799),  and 
La  Scala,  Milan  (1801).  Engaged  in  1801  at 
the  Ital.  Op.,  Lisbon,  she  married  M.  Vala- 
bregue,  an  attache  of  the  French  embassy; 
proceeded  to  Paris,  where  she  gave  only 
concert-performances,  and  (1806)  to  London 
(d6but  King's  Th.,  Dec.  15),  where  brilliant 
engagements  brought  in£l6,70O  within  a  year. 
After  a  sojourn  in  Great  Britain  of  7  years,  she 
returned  to  Paris  (1814),  and  undertook  the 
management  of  the  Theatre  Italien,  without 
much  success;  so  that  she  gave  it  up  in  1817, 
travelled  for  10  years,  singing  for  the  last 
time  at  Berlin  in  1827,  and  at  the  York 
Festival  in  1828.  She  retired  to  her  country- 
seat  near  Florence. 

Catel',  Charles- Simon,  b.  TAigle,  Orne, 
June  10,  1773;  d.  Paris,  Nov.  29,  1830.  Pupil 
of  Gossec  and  Gobcrt  at  the  Paris  ficole  R.  du 
Chant  (later  merged  in  the  Cons.),  whtre  he 
was  app.  (1787)  accompanist  and  'professeur 
adjoint  ;  in  1790,  accomp.  at  the  Opera,  and 
asst.-cond.  (to  Gossec)  of  the  band  of  the 
Garde  Nationale.  1795,  on  the  establishment 
of  the  Conservatoire,  he  was  app.  prof,  of 
harmony,  and  commissioned  to  write  a  Traite 
d*  Harmonic  (publ.  1802,  and  the  standard  at 
the  Cons,  for  20  years).  With  Gossec,  Mehul, 
and  Cherubini,  ne  was  made  inspector  of  the 
Cons.,  resigning  1814.  Member  of  the  Acad., 
1815.— Works:  11  operas  (Semiramis,  1802; 
Les  Bayaderes,  1810;  Les  Aubergistes  de 
qualite,  1812;  etc.) ;  national  festival  cantatas, 
chamber-music;  none  of  special  originality. 


Cf.  J.  Carlez,  C.  £tude  biographiaue  et  critique 
(Caen,  1895);  F.  Hellouin  and  T.  Picard, 
Un  Musicienoublie:  C.  (Paris,  1910).â€